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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“Streetcar” Has Returned at TWSTL, Bringing With it Intense Characterizations, Stunning Performances

August 9, 2025 by Michelle Kenyon ("Snoop")

A Streetcar Named Desire
by Tennessee Williams
Directed by Michael James Reed
Tennessee Williams Festival St. Louis
August 7, 2025

Eric Dean White, Beth Bartley
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

One of Tennessee Williams’s most famous plays is back in St. Louis, and it’s making a profound impact. The Tennessee Williams Festival has staged this play before, with a stunning, award-winning production in 2018, and now it’s back for the festival’s 10th Anniversary, in a striking new staging that emphasizes “otherness” in a way that I don’t remember as much from the last (fantastic) production. Highlighting a marvelous, quirky and heartbreaking performance in the role of Blanche and surrounding her with a first-rate cast in the rest of the roles, this production–directed by Michael James Reed–focuses largely on Blanche’s role as an outsider, and her refuge in fantasy as a striking contrast to brutal reality as personified especially by her sister’s husband, Stanley.

The world here, set in the French Quarter of New Orleans, is more stylized, with a striking set by Patrick Huber that emphasizes open spaces and lack of privacy, although also maintaining a colorful mid-Century vibe. The audience is introduced to this world by a cacophony of sound, of animals and trains and yelling neighbors, as outsider Blanche DuBois (Beth Bartley) arrives from Mississippi to see her younger sister, Stella (Isa Venere), who is married to the loud, possessive Stanley Kowalski (Todd D’Amour). Blanche is somewhat evasive about why she has left her position as a school teacher and come to New Orleans, but the Kowalskis take her in and while Stella is initially happy to see her sister, there is immediate friction with the increasingly suspicious Stanley, who asks around and digs into Blanche’s past. Meanwhile, at one of Stanley’s raucous poker games, Blanche meets Mitch (Eric Dean White), who is decidedly less crude than Stanley and the others, and who takes an interest in Blanche. For a time, there’s reason to hope that these two can make a life together, but this is a tragedy, and as Stanley reveals more and more of his brutish nature, hope for the increasingly self-deluded Blanche grows dim.

That’s all I will say, but if you know the story, you know what happens. The tone of this production emphasizes the contrast between Blanche’s world (which is fueled by her regret and imagination) and Stanley’s, which is harsh and increasingly brutal, and with the bold but tenderhearted Stella caught in the middle, and with Mitch as something of a bewildered suitor. The tone is at turns fantastical and harsh, hopeful and bitingly cynical, with an ultimate weight of pervasive regret and sadness. 

The cast is simply stellar, led by Bartley in a quirky, old-Hollywood influenced turn as Blanche. There are touches of Judy Garland, as well as influences of a few other famous screen legends (Crawford, Swanson, Davis), but also an increasing sense that this air is something of an act, which starts to fall apart visibly in a key scene with Mitch. It’s a stunning, fascinating, ultimately heartbreaking performance. D’Amour is powerfully primal as the insistently brutal Stanley, and his scenes with both Bartly and Venere–excellent as a tough-but-vulnerable Stella–are highlights. The always excellent White is an ideal Mitch, bringing a mixture of gentleness, hope, and eventually a bit of obtuse bewilderment to the role. There’s also excellent support from Isaiah Di Lorenzo (repeating his role from 2018) and Emily Baker as the Kowalskis’ neighbors Steve and Eunice, as well as Cedric Leiba Jr. as poker buddy Pablo, and small but well-pitched turns by Jeremiah King as a young man collecting money for the newspaper, along with David Wassilak as a doctor and Gwynneth Rausch as a nurse, and Jocelyn Padilla as a flower seller. It’s a fantastic cast in a stunningly realized, highly emotional production.

Huber’s excellent set is augmented by Matthew McCarthy’s occasionally stark, occasionally otherworldly lighting and excellent sound by Phillip Evans. The costumes by Shevaré Perry are colorful, period specific, and memorable, highlighting contrasting colors as well as the sometimes realistic, sometimes stylized tone of the show. There’s also strong work by props designer Mikhail Lynn, fight choreographer Jack Kalan, and intimacy coordinator Jocelyn Padilla. 

A Streetcar Named Desire is a timeless tragedy, with themes that are at once highly specific and universal. As TWSTL has shown even on its own, it can be staged in various ways while still being profoundly affecting. This latest version is emotional, visceral, and intense, with emphasis on the contrast between hope-and-regret-fueled fantasy and tragic, brutal reality. It’s a truly remarkable production. 

Isa Venere, Todd d’Amour
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

Tennessee Williams Festival St. Louis is presenting A Streetcar Named Desire at the Grandel Theatre until August 17, 2025

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FNT’s Revised “Madam” Makes a Memorable Impression at the Greenfinch

August 9, 2025 by Michelle Kenyon ("Snoop")

Madam
Music, Lyrics, and Book by Colin Healy
Directed by Sam Hayes
Choreographed by Cady Bailey
Fly North Theatricals
August 2, 2025

Avery Lux, Adrienne Spann, Liallian Cooper
Photo by Cady Bailey
Fly North Theatricals

Madam, an original musical from Fly North Theatricals penned by the company’s artistic director Colin Healy, has been in process for a few years, having begun with a production in Hannibal, MO and its last iteration having been staged here in St. Louis in 2020. I remember it making a strong impression when I saw that production five years ago, led by a dynamic performance by leading lady Kimmie Kidd, who still headlines the new version now being staged at FNT’s current home base, Greenfinch Theater & Dive. Now, with a new cast surrounding Kidd and a revised script and score, and now directed by Sam Hayes, the show still stands out as a strong character piece, with a lively score and tighter plotting than before. It also fits into its new space especially well.

The story is a highly fictionalized, almost mythologized tale set in St. Louis in the 19th Century and featuring some characters loosely based on real people. The intro, narrated by “working girls” Billie (Adrienne Spann), Tennie (Lillian Cooper), and Ripley (Avery Lux), tells the story of Madam Eliza Haycraft (Kidd), who operates a highly successful brothel in the city, and how she built her “Empire”. Eliza has strict rules for her house, including respect, consent, and paying up front, but most of the employees are not there to stay, as they have other goals–Ripley to go to medical school, Tennie to join her activist sister, and Billie (who has often disguised herself as a man to serve in the army and to play baseball) to make her fortune out West. There’s also Callista (Rachel Bailey), who is seen by the rest of the girls as Eliza’s heir apparent, and who has become essentially the regular client of a greedy, narcissistic local man known only as The Benefactor (Dustin Petrillo). Soon, a new young woman is brought into the picture, as the ailing, down-on-her-luck Mercy Jones (Jade Cash) shows up one night and is taken in by Eliza, whom Mercy in gratitude offers to help in managing her finances and organizing her will. Unknown to Eliza and most of the other girls, though, Mercy has a secret which ties her to the Benefactor, and which Callista–who was once an aspiring actress like Mercy–has little trouble figuring out at least partially. Meanwhile, the hard-drinking Eliza is in poor health, and isn’t expected to live much longer, while the Benefactor is scheming to get her to sell her house to him, since it’s on extremely valuable property.

The story is an intriguing one, and the characters are well defined, with a memorable score and catching songs like the notable “Empire” as well as Billie’s baseball song “Another Fence”, Mercy’s hopeful ballad “Star” and Eliza’s tour-de-force solo “Dinner For One”. Also, the tweaks to the plot–and especially the nature of the relationship between Mercy and the Benefactor–work well and add energy and coherency.

It’s an entertaining show overall, and an excellent showcase for its superb cast, although I can’t help but see it as ultimately a sad story, even though it means to be empowering. I don’t want to go too much into why since that would spoil some plot elements, but I do think it’s well worth seeing, and I think others may view the story differently. I also think the show still needs to figure out who its main protagonist is–Eliza or Mercy. It’s called Madam but despite Kidd’s powerhouse performance, the story often plays out like Mercy is at the center, with Mercy being the one who has the main dilemma and whose story drives the plot most, although she is also missing for large stretches of the story. Also, as important as Callista seems sometimes, and as excellent as Bailey is in the role, Callista’s role isn’t as well-defined as it could be, and the Benefactor is essentially a cartoon villain even though the talented Petrillo makes the most of the role.

The cast is fantastic, with Kidd and Cash both excellent as the ailing Eliza and conflicted Mercy. Spann, Cooper, and Lux are also terrific as Billie, Tennie, and Ripley, with Spann leading two of the more memorable songs (“Another Fence” and “Joy”). It’s a strong cast all around, both acting and singing, and bringing much energy to the atmosphere and period tone of the show. There’s also a great band led by music director Healy and energetic choreography by Cady Bailey.

The show also looks great, with the set–designed by Bradley Rohlf and Healy, and painted by Katie Orr–being probably the most elaborate set I’ve seen in a show in this venue. The creative team and technical crew have put their all into fitting the show into the Greenfinch, and it works especially well. The 19th Century look and atmosphere is well maintained, also by means of Hayes’s colorful and detailed costumes, Rohlf’s atmospheric lighting, and Kel Rohlf’s props. 

Ultimately, I think Madam is an entertaining show that’s still a bit of a work in progress but works even better now than the last time I saw it, when I also enjoyed it and thought it deserved the several St. Louis Theater Circle nominations it received. This is a fine showcase for an excellent cast, and an intriguing look at a side of St. Louis history that isn’t talked about a lot. Its run has recently been extended as well, so there’s still plenty of time to check it out. 

Kimmie Kidd
Photo by Cady Bailey
Fly North Theatricals

Fly North Theatricals is presenting Madam at Greenfinch Theater & Dive until August 17, 2025f

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First Run’s “Details” is a Low-Key, Well-Cast Look at Lonelines, Loss, and Personal Connection

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

The Details
by James Larson
Directed by Darrious Varner
First Run Theatre
August 1, 2025

Jaz Tucker, Bill Burke
Photo: First Run Theatre

First Run Theatre is focused on staging new plays by Midwestern playwrights. Their latest production, The Details by James Larson, is a somewhat low-key, intimate look at a new and unexpected relationship between two neighbors. As staged at Kranzberg Arts Center under the direction of Darrious Varner, the play served as a showcase for a pair of fine performances, and there are interesting characters and some good ideas, although it did come across as somewhat talky with little in the way of action.

In this show, lonely widower Mr. Hoffmann (Bill Burke) is home alone, talking to his late wife as if she is still there, and the sense of her absence is lingering. There are pictures on the bookcase and other remnants that suggest a couple had lived here for a long time. Hoffmann goes about his evening in a matter-of-fact manner, then goes upstairs. Soon, there are knocks on the door, and Hoffmann doesn’t answer. The knocker, neighbor Bucky Jackson (Jaz Tucker), notices the door is unlocked and lets himself in, whereupon he is soon discovered by Hoffmann and a confrontation ensues that leads to a series of revelations, reflections, and challenges covering the areas of loneliness, loss, various types of dependence, and perhaps most of all, the longing for community.

Although the script is slow moving and rather talky, and there isn’t a lot of action, the performances make the story interesting. Both actors have a measured air of relatability and secrecy, and their guarded attempts at reaching out toward one another give this play its emotional weight. Tucker, as the initially more outgoing Jackson, has a likable presence, making his personal story credible as it unfolds and adding to a believable developing bond with Hoffmann’s equally intriguing but more reticent Hoffmann. The halting but surely developing sense of connection between these two is what gives this play its drama, and ultimately, its sense of hope despite some sad revelations. 

The production has a consistent look, with Brad Slavik’s set ably representing a long-lived-in suburban house. The costumes by Tracy Newcomb suit the characters well. There’s also fine work from Mike Gasaparich on lighting and Jenn Ciavarella on sound. The pacing is even and somewhat subdued, highlighting the performances, and although the show is on the slower side, it’s never boring. 

For the most part, I would say that The Details is a promising new play that could use a little work on dialogue and plotting, but that features a memorable character relationship that is well highlighting in this production. Its strongest point was clearly the acting, and the two leads are to be commended for creating and maintaining such a believable rapport. I’m curious to see where future revisions may lead this show.

Bill Burke, Jaz Tucker
Photo: Fly North Theatricals

 

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Eclectic “Dollhouse” Challenges and Entertains at ERA

August 5, 2025 by Michelle Kenyon ("Snoop")

Dollhouse by Three Manufactures
Adapted from A Doll’s House by Henrik Ibssen
Directed by Miranda Jagels Félix, Spencer Lawton, and Jimmy Bernatowicz
Equally Represented Arts
July 31, 2025

Frankie Ferrari, Hailey Medrano
Photo: ERA

 

ERA is at it again. This wildly inventive theatre company is re-examining a classic work as usual, with their characteristic experimental lens. This time, they’re doing something new, even for them. With Dollhouse by Three Manufacturers, the challenge is to present a coherent adaptation of Henrik Ibsen’s A Doll’s House with each act directed by a different person, with notably contrasting approaches. Although there are a few issues with coherency in moments, for the most part I would say that this experiment is a bold, provocative success. 

I will say that this is one of those shows that works best when the audience is somewhat educated about the source material. If you’re never seen A Doll’s House, it would be useful to find a synopsis online and familiarize yourself with the basic plot, because that will make the madcap, high-energy tone of (especially) Act 1–directed by Miranda Jagels Félix–easier to follow. The story of the pampered housewife Nora Helmer (Hailey Medrano) and her doting but oddly paternal husband, Torvald (Frankie Ferrari) is at first framed as something of a fever dream, introduced by a lounge-singer type “Mistress of Ceremonies” (Molly Wennstrom) who sings classic pop and jazz standards before the story begins that work to call attention to the subject matter of the show and add a satirical air, like “My Heart Belongs to Daddy” and others. The characterizations are played as fairly over-the-top, as the central dilemma is introduced–bank manager Torvald is about to fire longtime employee Nils Krogstad (Andrew Bayer), but Krogstad has a secret he shares with Nora involving how she was able to help Torvald during a health crisis, and he Krogstad threatens to expose Nora if she doesn’t help him. Meanwhile, Nora’s old school friend Christine (Victoria Thomas) shows up also looking for a job after being widowed, and Nora struggles with the expectations of what it means to be a wife and mother in a society in which men have all the power. This is a stylized act, where much of what Torvald says is recited by the entire cast together (minus Nora), and much of the staging is symbolic and briskly paced. It’s something of a farce, but with a highly satirical edge. There are laughs, but some of the dialogue can be hard to follow at times, especially during the group recitations.

Act 1, which is somewhat frantic, eventually gives way to Act 2, directed by Spencer Lawton, which slows down to a calmer, more somber pace, for the most part. The characters are played much closer to the “traditional” tone of A Doll’s House, making the story and the emotional weight of the proceedings a bit easier to understand. The cast keeps up the pace and transition well here, and the tone shift works especially well considering that it serves as something of a “rest” between the much more stylized first and third acts while also communicating the story and themes with clarity and emotion.

And then comes Act 3, directed by Jimmy Bernatowicz, which is the most obviously polished and precisely choreographed of the thee parts, in which the story suddenly becomes a fully realized 1950s live sitcom, complete with actual cameras as the story is filmed and projected onto the curtain at The Chapel as the story plays out. The characterizations are a bit broader again, and the sitcom format brings a good deal of laughter, as does the inclusion of live commercials integrated into the plot, as old TV and radio shows often used to do. What’s especially brilliant here is how the commercial narratives are blended with the themes of Nora’s story, particularly toward the conclusion as the commercials come to be about dolls, emphasizing the doll-like existence Nora has endured, and her increasing desire to break out of that. It’s an impeccably staged act, featuring  well-integrated live music (particularly the Buddy Holly classic “True Love Ways”), marvelous special effects, and top-notch performances by the cast. 

As for the cast, everyone is excellent and on-point, adjusting their performances to the tone of the different acts, but also keeping their characters recognizable throughout. Medrano is at turns hilarious, heartbreaking, timid, and bold as Nora, and Ferrari’s Torvald is suitably paternal and frustratingly upbeat until the devastating conclusion. There are also impressive portrayals by Bayer as the insistent Krogstad, Thomas as the somewhat enigmatic Christine, Ross Rubright as the gentle and ailing Dr. Rank, and Morgan Schindler as the family’s nanny/maid Ann-Marie, who is essentially a blend of two characters in the original play. Wennstrom makes for a memorable Mistress of Ceremonies, as well, and all of the players work well with the shifts in tone between the acts, keeping up the energy of the story as the styles change throughout.

The technical qualities of this show are also excellent and memorable, with a strong sense of “dollhouse” theming and and a versatile set by Lucy Cashion and Bernatowicz. There are also fantastic costumes by Meredith LaBounty, dazzling lighting by Jayson Lawshee, and terrific video and A/V work by Joe Taylor, especially in Act 3. 

This is unmistakably an ERA show, with emphasis on satire and critical examination of its source material–here featuring a critique of patriarchy and roles of men and women in society. It’s a new approach from a company that keeps coming up with fascinating new approaches. It may not appeal to all tastes, but I find it fascinating and especially entertaining. It’s worth a look especially if you love experimental theatre. 

Morgan Schindler, Molly Wennstrom, Andrew Bayer
Photo: ERA

Equally Represented Arts is presenting Dollhouse by Three Manufacturers at The Chapel until August 9, 2025

 

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