Upstream Takes a Harrowing, Symbolic Journey in “Meet Me at Dawn”

April 19, 2025 by Michelle Kenyon ("Snoop")

Meet Me at Dawn
by Zinnie Harris
Directed by Larissa Lury
Upstream Theater
April 12, 2025

Michelle Hand, Lizi Watt
Photo by ProPhotoSTL
Upstream Theater

Two people are stranded on an island–or is it really an island? Waves crash against sand, and the couple try to figure out what’s happening, and how to get back home. That’s essentially the setup for Zinnie Harris’s highly symbolic, heavily emotional play Meet Me at Dawn, which is currently being staged by Upstream Theater at the Marcelle, directed by Larissa Lury and starring two excellent local performers, Lizi Watt and Michelle Hand. Mystery is an important element of this relatively short but powerful story, but what isn’t mysterious at all is the obvious talent on display in this fascinating, remarkable production.

As the play begins, Robyn (Watt) seems to be stranded in an unspecified space, isolated and starkly lit, but when her partner Helen (Hand) appears, it becomes clear that they are stranded on a beach after a boating accident. Both are soaking wet and confused, trying to figure out where they are and how to get help. As the story progresses, it soon becomes clear that not everything is as it may seem, as the two encounter an evasive woman who speaks oddly (acted by both performers in turn), and doesn’t seem to be able to help. Robyn especially seems mixed up, soon finding herself confronting memories that don’t seem to match up with what is happening. As the two take stock of their lives together, and desperately try to find their way back home, new revelations make it increasingly obvious that there is more going on here than first meets the eye. It’s a profound emotional journey exploring aspects of hope, disappointment, attachment, and especially grief.

I can’t explain much more because I don’t want to spoil it, but this is a compelling and multi-layered, symbol-filled journey into the minds and hearts of these characters, remarkably acted by Watt and Hand, who make a credible couple and who both make memorable impressions on this harrowing, thoughtfully constructed journey of discovery and denial; reminiscence and regret. In terms of emotional expression, drama and moments of humor, these two hit all the beats with just the right emotional resonance, and it’s a fantastic turn from both, who manage to be compelling and all the more relatable as what is actually happening becomes even more clear. 

The sensory experience is also profoundly affecting, with Patrick Huber’s blend of abstraction and realism in the detailed set forming an ideal base for the action, and Tony Anselmo’s fantastically realized, evocative lighting adding much to the overall emotional power and enigmatic tone of the story. There’s also excellent work from Lou Bird on costumes and Kristi Gunther on sound. Also, the universal nature of a lot of the emotions, along with the “out of time” feel of a lot of the story, is emphasized in the wise choice not to use British accents here, even though the language of the play makes it clear that the playwright is UK-based. 

Meet Me at Dawn is a thoughtful, emotional experience. It’s a cleverly constructed tale that makes the most of its roughly 90-minute runtime to explore aspects of love and grief with remarkable sensitivity and richly drawn characters. It’s a show that you just might find yourself thinking about for a long time after you leave the theatre. 

Lizi Watt, Michelle Hand
Photo by ProPhotoSTL
Upstream Theater

Upstream Theater is presenting Meet Me at Dawn at the Marcelle until April 27, 2025

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Midnight’s “This Will Be” is a Fitting Celebration of Subject, Performers

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

This Will Be: The Spirit & Soul of Natalie Cole
Written and Directed by Joe Hanrahan
The Midnight Company,
April 11, 2025

Kimmie Kidd
Photo by Todd Davis
The Midnight Company

Joe Hanrahan’s Midnight Company has another “Cabaret Theatre” piece in its repertoire now, having just opened at the Blue Strawberry as a showcase for the works of a celebrated singer (well, two really), and serving as a showcase for three excellent performers, and particularly the stunningly talented headliner, Kimmie Kidd. Structured as something of a staged documentary, This Will Be: The Spirit & Soul of Natalie Cole is a fairly comprehensive overview of Cole’s music and career. It’s also a tribute to themes of nostalgia, growing up, and parents’ enduring influence on their children. 

The structure is a little odd, but it works, especially as a vehicle for the Kidd’s remarkable talents and presence. Kidd is essentially the narrator, telling Cole’s story and singing most of the songs, as well as sharing some personal remembrances of “Little Kimmie” discovering Cole’s music as a child growing up in St. Louis. The role of Natalie Cole is acted primarily by Christina Yancy, who along with Dareis Lambert as Natalie’s father Nat King Cole–sings backup along with Kidd on a series of Natalie’s hit songs like the memorable title song, as well as “Inseparable”, “I Live For Your Love” and more, including a tribute to her late father on the classic “Unforgettable”, which Natalie recorded as a duet with her father’s recorded vocals, and which Kidd performs her with Lambert, who has a few memorable solo moments including the Nat King Cole classic “Nature Boy”. 

Backed by an excellent combo featuring music director Colin Healy on piano, Bradley Rohlf on percussion and backing vocals, Kidd is the undisputed star of this show, although Lambert and Yancy lend excellent support as well.  Kidd sings Cole’s classic songs with energy, style, and sheer vocal power and excellence. The story of Cole’s life is also compelling, as young Natalie grew up fairly sheltered as the daughter of one of America’s first “mainstream” Black celebrities, and then discovered more of the world after her father’s death when she was a teenager and she grew up and attended college in Massachusetts and became involved in a more varied music scene including rock ‘n roll. The story covers her relationship with first husband and musical collaborator Marvin Yancy, along with struggles with addiction and the continuing influence of her father throughout her life, even long after his death.  Front and center throughout is Kidd and the memorable soundtrack of Natalie Cole’s enduring hits. 

It’s a thoroughly entertaining evening, especially for fans of Natalie Cole and Nat King Cole. There’s only one more performance scheduled, but judging from the full, enthusiastic audience on opening night, I won’t be surprised if this gets additional dates, like previous cabaret theatre productions from The Midnight Company. It’s a fun, educational celebration of musical talent from two legendary singers as well as the remarkable talent of its headlining performer. 

 

Dareis Lambert
Photo by Todd Davis
The Midnight Company

Christina Yancy
Photo by Todd DAvis
The Midnight Company

 

 

 

 

 

 

 

 

 

 

The Midnight Company is presenting This Will Be: The Spirit & Soul of Natalie Cole at the Blue Strawberry, with one more performance on April 18th, 2025

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“With” Takes a Rough and Compelling Look at a Couple in Crisis at STLAS

April 14, 2025 by Michelle Kenyon ("Snoop")

With
by Carter W. Lewis
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
April 6, 2025

Whit Reichert, Donna Weinsting
Photo by Patrick Huber
St. Louis Actors’ Studio

Carter W. Lewis is a gifted, thoughtful playwright who has already had two short plays performed at St. Louis Actors’ Studio as part of their LaBute New Theater Festival, with one of these, “Percentage America” winning a St. Louis Theater Circle Award for Best New Play in 2018 (tied with SATE’s First Impressions). Now, STLAS is presenting their first production of a full-length play by Lewis, the compelling, tragicomic With. This in-depth look at a long-married couple in crisis is a terrific showcase for two tour-de-force performances by two veteran local performers, and although it’s a relatively short play, it takes on quite an emotional journey with these two memorable characters. 

This is somewhat of a difficult play to describe, since the unfolding story could be too easily spoiled, and it’s best to find out what’s happening as it happens. The set-up involved Minnie (Donna Weinsting) and Clifford Habberdeen (Whit Reichert), a loving but bickering married couple who are both experiencing health crises–physical for Minnie (a cancer diagnosis) and mental for Clifford (dementia). They’re enduring a hard winter in the house they’ve lived in for decades, and over the course of the show, they reflect on their life together, their relationship with their estranged adult son, and their plans for the future. As the story goes on, it becomes clear that there are secrets being kept, and Minnie especially seems to be taking advantage of Clifford’s memory lapses for what she seems to believe is his own good. They are one of those “can’t live with them, can’t live without them” sort of couples, and the increasing urgency makes their interdependency become all the more obvious as the winter rages on and decisions need to be made.

The story is especially well constructed, with elements that are mentioned in passing becoming more important later on, and the characters being especially well-drawn, with their relationship being especially realistic. The ups and downs in this couple’s relationship are especially credible, as is their undeniable bond and chemistry, which is especially well played by the remarkable Reichert and Weinsting. Both are strong actors, and I’ve seen them both in many plays in the past, and this is an astounding achievement for both. The fastidious, cranky Clifford and the insistent, anxious Minnie are made memorable by these two extraordinary performers. The humor, drama, intensity, and urgency all comes across along with the clear sense of love these characters share. It’s a journey that can be quite harrowing at times, and these two take the audience along for the ride without missing a beat.

The technical aspects of the productions are also excellent, with the meticulously detailed set by Patrick Huber, along with Huber’s fantastic atmospheric lighting create a compelling world in which these characters live. There’s also excellent work from costume designer Teresa Doggett, and props and sound designer Emma Glose. I’m constantly amazed at how well this company is able to use their small performance space, and this play is another excellent example. 

With is a challenging, thought-provoking play and an astute character study. There’s a lot going on here, and a lot to think and talk about. It’s also an exemplary showcase for two fantastic performers at the top of their game. There’s one more weekend to catch it, and I highly recommend checking it out. 

Whit Reichert, Donna Weinsting
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting With at the Gaslight Theater until April 20, 2025

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SATE’s “Aphra Behn Festival” Impresses with Thoughtful, Imaginative Stories

April 13, 2025 by Michelle Kenyon ("Snoop")

Ninth Annual Aphra Behn Festival
SATE Ensemble Theatre
April 5, 2025

Image: Sate Ensemble Theatre

SATE’s annual Aphra Behn Festival ran last weekend at the Chapel, reflecting the company’s theme for its 2025 season: the “Season of Adventure”. All three plays featured here explore that theme in different ways, and they are each especially entertaining and thought-provoking in their own ways. This is an excellent lineup of plays, with first-rate casts and thoughtful direction. Here are some brief thoughts about all three entries:

“Felicity” by Dylan Molloy, Directed by Ashwini Arora 

This play is part coming-of-age story, part sci-fi, and overall a fascinating look at two young people and their relationships with each other and the world around them. The two characters are remarkably played by Lyd Foss as Will and Rose Shawver as June. The two are childhood best friends who are facing the reality of growing up in a world where their future seems bleak, but the imminent launch of the spaceship Felicity in an effort to colonize Mars gives them a moment to reflect on their place in the world, as well as how they relate to each other and their peers.

The sci-fi elements here are subtle but clear, and there are also themes of climate change, economic disparity, and strict class structure. It’s one of those “five minutes in the future” sort of stories, which adds a compelling backdrop to the main attraction, which is these two intriguing characters and their interactions, which show their close bond as well as the threats from growing up and pressures of outside expectations. The setup here, and the conversations, seem entirely natural and credible. This is a play that’s made even more powerful by the thoughtful performances and direction. It’s a thought-provoking, profoundly insightful story.

Scenes from Pierrot’s Blanket by Meredith Lyons, Directed by Christina Yancy

This delightful presentation is apparently a series of vignettes from a larger work, centering on traditional French “Sad Clown” character Pierrot, or Pierre (Joseph Garner), and a sort of love-interest character known as “Blanket” (Miranda Jagels Félix), who become involved in a series of comic escapades that are also contain degrees of romance and poignancy. There’s also a great deal of physicality involved, involving mime and physical comedy.

Garner is a delight in a highly expressive performance as the earnest Pierre, who finds himself in various situations including working in a high-pressure restaurant kitchen presided over by an imperious chef (Jan Niehoff), and as a guest performer on a late night talk show hosted by the excellent Niehoff. Jagels Félix is also excellent as the elusive, flirtatious Blanket, and Kaylyn McCoy provides strong support as an apprentice chef and the talk show announcer. This is a highly entertaining story and it made me curious about what the full show is like.

“The Inferno is for B*tches” by Aurora Behlke, Directed by Kayla Lindsay

The evening got a hard-rocking finale in this clever, creative show following a high school student, Heaven (Celeste Genevieve Gardner) trying to salvage her grade after having failed to finish an essay on Dante’s Inferno by performing a “visual essay” of sorts in the form of a punk-rock concert and skit, aided by her twin cousins Manny (Bradley Rohlf) and Mannie (Claudia Barney), who play in her band as well as playing characters in a sort of reenactment of the Inferno story  casting Heaven in the central role, as she has been apparently banished to hell for pirating the movie Detective Pikachu on her family’s computer. 

This show is a lot of fun, featuring a good representation of what the Inferno is about while also giving it a driving punk score and lots of modern youthful attitude. Gardner is full of energy and likable personality as Heaven, and Barney and Rohlf are also strong in their supporting roles and musical skills. This is a hilarious, thought-provoking, musically memorable show that leaves a strong impression and works well as a finale for the festival.

There’s also great work across the board from lighting designer Erik Kuhn, costume designer Tyler White, and  projection designers Kayla Lindsay and Ellie Schwetye, sound designers Christina Yancy and Schwetye. The technical aspects of all shows contributed to the overall look and vibe of this festival, and added much in the way of entertainment value. Overall, this was a thoroughly impressive Aphra Behn Festival, and I hope each of these shows can have a life beyond their initial performances. 

 

 

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WEPG Explores Relationship Crises, Memorable Characters “At the Wedding”

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

At the Wedding
by Bryna Turner
Directed by Anna Blair
West End Players Guild
April 4, 2025

Alexis Monsey, Steph House
Photo by Anna Blair
West End Players Guild

West End Players Guild’s latest production, Bryna Turner’s At the Wedding, packs a lot of character into its roughly 75 minute running time. It also features some fun participatory elements, so the audience gets to “attend” the show’s titular wedding along with its central character, Carlo (Steph House). Although the plot is fairly predictable, the characters, especially Carlo herself, are well-drawn, and the cast is particularly strong, as are the various elements that help to achieve and maintain the overall modern wedding atmosphere. 

Carlo starts out sitting at a table the wedding reception, telling a story about love and loss that comes across as emotional and oversharing. We find out that she’s attending the wedding of her ex-partner, Ava (Angela Healy) to a man who is only ever referred to as “the Groom”, and she’s still processing her feelings about the split even though it seems like some time since she and Ava broke up.  Through the course of the evening, Carlo meets with various members of the wedding party, guests, and others while trying to deal with her own feelings of rejection and inadequacy and trying to find the strength and hope to move on. Among the people she encounters are bridesmaid Carly (Alexis Monsey), with whom Carlo has an adversarial relationship; wedding guest Eli (Kevin Hester), who is something of a romantic and is full of quotes from Coleridge’s The Rime of the Ancient Mariner; mother-of-bride Maria (Deborah Dennert), who is drowning her sorrows after finding out her ex-husband has brought his new girlfriend to the wedding; and the somewhat mysterious Leigh (Nachalah Duclerne), a wedding guest who forms a flirtation with Carlo and tries to convince her to skip out on the rest of the reception. There’s also Victor (Matt Anderson), a dutiful but somewhat exasperated waiter at the venue, who seems to mostly just be hoping to finish out this job and get home to his own partner. Through the series of interactions, a few hints are dropped that some of these people may be more than what they first seem, although for the most part, this is about Carlo and her attempts to deal with her own feelings and life goals, as well as coming to terms with her breakup and Ava’s moving on in her life. 

The story is somewhat predictable, as previously mentioned. It’s fairly easy, for instance, to figure out some of the relationships that aren’t immediately spelled out. The point of this story, though, is more about the characters than the plot, and especially, it’s about Carlo, it is played with humor and cranky energy by the excellent House, who portrays a credible emotional journey as the events unfold. There are also strong supporting turns from Dennert as the personable but somewhat bitter Maria, Duclerne as the enigmatic Leigh, Anderson as the somewhat tired Victor, and Monsey as the snarky Carly, Healy as the likable Ava, and especially Hester in a winning performance as the persistently hopeful, somewhat geeky Eli. 

The wedding reception atmosphere is achieved by some fun touches such as passing out bubbles, toasting beverages, and birdseed to audience members, and encouraging the audience to sing along with the guests when they break into a rousing rendition of “Sweet Caroline”. The set by director Anna Blair is simple but effective, with excellent sound by Blair and lighting by Renee Sevier Monsey. The staging is well-paced and thoughtful, with excellent use of music (Audra Angelique is the DJ), and all the songs well-chosen for the scenes in which they are used.

At the Wedding isn’t an intricately plotted show, and there are predictable elements, but the memorable characters and semi-immersive wedding reception setting help to make it entertaining and engaging. The blend of humor and drama works reasonably well, and House’s performance–as well as Hester’s–help to lift this play to another level. It’s a good show to check out from West End Players Guild. 

 

Matt Anderson, Kevin Hester, Steph House
Photo by Anna Blair
West End Players Guild

West End Players Guild is presenting At the Wedding at Union Avenue Christian Church until April 13, 2025

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Energetic “Rock of Ages” at STL Has Strong Cast, Silly Plot

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

Rock of Ages
by Chris D’Arienzo
Arrangements and Orchestrations by Ethan Popp
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 3, 2025

Dawn Schmid, Drew Mizell
Photo: Stray Dog Theatre

Where were you in 1987? I know some of my readers probably weren’t even born, and answers to that question will vary among those who were around. For me, I was in high school, and the subject of Stray Dog Theatre’s latest production, the jukebox musical Rock of Ages, is quite familiar to me. Still, the “affectionate parody” route that the script takes comes across as hit or miss, and the plot is aggressively silly. Still, what this show does have going for it is an excellent, enthusiastic cast, a memorable band, and a well-established sense of time and place. 

As I mentioned, I was in high school during the time this show is set, although I was more into “classic rock” (from the 60s and 70s) at the time, and the “hair metal” bands and performers that this story mostly focuses on were not among my favorites. I think that audience appreciation of this show will depend largely on what you think of the music and culture of the hard rock/heavy metal scene in the 1980s, although not all of the music in this show fits neatly into that category, and there are some hits that I think transcend the genre and have more wide appeal. The characters are also largely stereotypes, but the broadly comic tone does provide a good platform for performers to go all out, in both vocals and acting. 

The story focuses mainly on Drew (Drew Mizell), who works as bar staff for the Bourbon Room, a rock club on LA’s Sunset Strip. Drew is an aspiring musician who hopes to make it big. There’s also Sherrie (Dawn Schmid), a “small town girl” from Kansas who heads to LA to pursue an acting career, who meets Drew and becomes a waitress at the club. The two share an attraction, but of course there are obstacles–most of which seem obviously manufactured. Soon, fading rock star Stacee Jaxx (Clayton Humburg), who got his start at the Bourbon Room, is persuaded by the club’s owner Dennis (Jeffrey M. Wright) to perform his last show with his band, Arsenal, before launching a solo career. Jaxx turns out to be a Grade A jerk, to put it mildly, although Sherrie is too starstruck to notice this at first. Meanwhile, German businessman Herz (Jacob Wilkinson)–along with his meek son Franz (Luke A. Smith)–has arrived in town with a plan to redevelop the Sunset Strip, which would include the demolition of the Bourbon Room. Activist Regina Koontz (Sarah Polizzi), who was fired from her position at the mayor’s office for her opposition to the plan, leads a protest and attracts the attention of Franz. There are a few other subplots mixed in as well, all narrated by Dennis’s protege and Bourbon Room sound guy Lonny (Bradley Bliven).

As you can probably see, there are a whole lot of plots here. There are also a lot of cliches and stereotypes, and jokes that range from silly to crass, and the cast does seem to be having a lot of fun here. Mostly, the singing is great, with Mizell, Schmid, Humburg, and Jade Anaiis as Venus Gentleman’s Club proprietor Justice as standouts. Mizell and Schmid make a believable couple, and both give their all to their roles, although the role of Drew is somewhat bland as written. Schmid especially manages to inject a great deal of personality into her role, and Polizzi is also an acting standout with strong comic abilities. Bliven and Wright are also memorable as Lonny and Dennis, and Smith has some memorable moments as Franz, and the ensemble is strong as well, for the most part, especially vocally. Some of the roles are particularly underwritten or stereotypical, like Herz and especially Stacee Jaxx, who comes across as a completely one-note jerk despite Humburg’s excellent vocals and energy. There is dynamic choreography by Mike Hodges that lends pizzazz to the production numbers and memorable songs like “Here I Go Again”, “Don’t Stop Believin'”, “We’re Not Gonna Take It”, and more. 

The visuals here are especially strong, with a marvelously detailed set by Rob Lippert that evokes the look and vibe of a 1980’s hard-rock nightclub with remarkable effect. There are also colorful costumes by Collen Michelson that suit the characters well and effectively  reflect the time and subculture. The wigs by Sarah Gene Dowling are fun, as well, and Tyler Duenow’s lighting is fantastic. There’s also a great onstage band led by music director Mallory Golden. 

Ultimately, Rock of Ages at SDT manages to entertain despite the uneven script. I think it will especially appeal to people who not only remember this era firsthand, but who also love this style of music and these songs especially. It’s a goofy story, but the cast seems to be having a lot of fun. If you have fond memories of 1980s hard rock and heavy metal, I imagine you’ll enjoy this show. 

Cast of Rock of Ages
Photo: Stray Dog Theatre

Stray Dog Theater is presenting Rock of Ages at Tower Grove Abbey until April 26, 2025

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“Kimberly Akimbo” at the Fox is a Lively, Unconventional Story

March 27, 2025 by Michelle Kenyon ("Snoop")

Kimberly Akimbo
Book and Lyrics by David Lindsay-Abaire, Music by Jeanine Tesori
Directed by Jessica Stone
Choreographed by Danny Mefford
The Fox Theatre
March 25, 2025

Cast of Kimberly Akimbo
Photo by Joan Marcus
Kimberly Akimbo US Tour

Kimberly Akimbo is a much-lauded musical that won various accolades for its Broadway run, including the Tony Award for Best Musical. When I heard the tour was coming to the Fox, I was especially looking forward to seeing it, since I had heard so many good things about it. After seeing this unique, small-ish show with big ambitions, I can say that, for the most part, it lives up to the hype, at least in terms of quality. I have a few reservations about some of the characters and plot itself, but there’s no denying that this show has a lot of enthusiasm and heart, and the tour has a truly wonderful cast. 

Kimberly (Carolee Carmello) is a teenage girl with a rare genetic condition that makes her age rapidly so that she looks like an older woman. She has recently moved to a new town in New Jersey with her parents, Pattie (Laura Woyasz)–who is expecting a new baby–and Buddy (Jim Hogan). She also has a shady Aunt Debra (Emily Koch), who her parents are trying to flee, but who manages to find them. Kim attends high school and goes skating at a local skating rink, forming a friendship with the geeky Seth (Miguel Gil) in the process. There’s also a group of teens involved in the school show choir (Grace Capeless as Delia, Darron Hayes as Martin, Skye Alyssa Friedman as Teresa, and Pierce Wheeler as Aaron) who soon become closer with Kim and Seth and get roped into Debra’s latest “slightly illegal” scheme. As Kim approaches her 16th birthday and the parents await a new baby, and the teenagers wait to grow up so they can move on from the awkward high school years, the plot tension grows as Debra continues to scheme but Kim has her own ideas of how to go about it. 

The overall themes of aging–and the fact that the most immature characters are the adults, who seem to have more lessons to learn than the teens–work in with the overall “make the most of your life while you’re living it” theme, and there are some especially insightful moments particularly between Kim, Seth, and the other teenagers. The adult characters can be difficult to like, considering how self-focused they are–but they do have their moments as well. Some of the biggest musical moments are from Debra, and the talented Koch makes the most of these moments with an excellent, powerful voice and strong comic timing, but I do find her plot a bit unsatisfying ultimately, and find myself hoping that Buddy and Pattie–also excellently played by Hogan and Woyasz–do become better parents in the future. Still, the real heart of this show is Kim, Seth, and their high school classmates, and casting there is also fantastic. Carmello makes me forget she’s not actually 16 for most of the play, with her quirky, persistent hopefulness and determination. She’s also well-matched by Gil in a goofily charming turn as Seth. Capeless, Hayes, Friedman, and Wheeler are also marvelous and relatable as the show-choir kids, with strong harmonies in the musical numbers. Also, Danny Mefford’s clever choreography adds a gawky energy to the teens’ dance numbers that’s effectively in keeping with their characters and story.

The set, by David Zinn, is detailed and dynamic, aided by Lucy McKinnon’s video design. There are also colorful, characterful costumes by Sarah Laux, and strong hair, wig, and makeup design by J. Jared Janas. Jeanette Oi-Suk Yew’s lighting is also fantastic, but there are some difficulties with the sound in moments. The orchestra, led by conductor Leigh Delano, lends energy and emotion to the memorable Jeanine Tesori score, as well.

Overall, Kimberly Akimbo is a fascinating, entertaining show with a fantastic score and a great cast. I find it difficult to care much about the adult characters at times, but the teen characters are its heart and soul, especially Kimberly herself. There are many relatable high school moments here, and the themes of making the most of life and taking responsibility are important. I can see why it has resonated with so many fans. I’m glad I was able to see this fantastic touring production at the Fox. 

Carolee Carmello, Miguel Gil
Photo by Joan Marcus
Kimberly Akimbo US Tour

The US Tour of Kimberly Akimbo is playing at the Fox Theatre until April 6, 2025

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“Sherwood” is Swashbuckling, Action-Packed Fun at the Rep

March 22, 2025 by Michelle Kenyon ("Snoop")

Ken Ludwig’s Sherwood: The Adventures of Robin Hood
by Ken Ludwig
Directed by Kate Bergstrom
Repertory Theatre of St. Louis
March 21, 2025

Matt Lytle, Jayne McLendon, Michael James Reed, CB Brown, Louis Reyes McWilliams
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is closing out its 2024-2025 season with a wildly entertaining bit of adventurous fun. With nods to the classic story, filmed versions, and especially Monty Python, Ken Ludwig’s Sherwood: The Adventures of Robin Hood is a hilarious, engaging adventure from start to finish. With vivid, whimsical storybook-styling and an enthusiastic, well-chosen cast, this is a show that’s a delight for all ages. 

The Robin Hood story has been told many times in various forms, and the marvelous, vividly realized set by Lindsay Mummert and Courtney O’Neill evokes a giant pop-up storybook surmounted by a massive oak tree. The cast led by Michael James Reed’s Friar Tuck, who narrates much of the story, introduces us to the story of the titular hero, Robin Hood (Louis Reyes McWilliams) in the middle of the action, as he’s about to be executed by the government of the greedy Prince John (Eric Dean White),  conducted by the vain Sir Guy of Gisbourne (Matt Lytle), but then the story flashes back to the very beginning, as Robin of Locksley is born and grows up as a member of the nobility and is soon made aware of the oppression of the Saxons by the Norman conquerors. Upon saving the lives of a miller and his daughter, Deorwynn (Fabiola Cabrera-Davila), Robin starts on a mission to right wrongs and help the poor and oppressed throughout England, rousing the ire of Prince John, Sir Guy, and Sir Guy’s henchman, the foppish Sheriff of Nottingham (David Weynand). Along the way, Robin draws a following, making friends with Friar Tuck along with Little John (CB Brown), and others, and becomes reacquainted with his childhood friend Maid Marian (Jayne McLendon), who had been sent away to France and has returned having become an expert archer and involved in a situation that makes things more complicated for both her and Robin. As the story progresses, many of the familiar Robin Hood tales are told, and adventure ensues as Robin and his merry band lead the fight for justice for the poor and wait for the return of the absent King Richard. 

The tone of this show is decidedly comic, although there are occasional moments of heartfelt drama. The style takes a fair amount of influence from Monty Python specifically, with one hilarious direct nod that I won’t spoil, but that audiences familiar with the source will recognize as soon as they see it. The characterizations are broad and not exactly caricatures, but with the villains veering more into that territory than the heroes, which provides great comic fodder for the actors. Lytle, Weynand, and White especially seem to be having a marvelous time hamming it up in villainous ways, but the heroes also have their moments to shine, led by McWilliams in a heroic turn as Robin and McLendon as the fiery, gutsy Marian who is in every way Robin’s match. Reed, Brown, and Cabrera-Davila also turn in strong, characterful performances, ably supported by Oriana Lada in a variety of roles and DeAnté Bryant as Troubadour, accompanying the cast on guitar as the story goes along.

There’s a lot of music in this show, actually, composed in a traditional folk-style by music director Colin McLaughlin and played and sung throughout the show by various cast members. There’s also dynamic fight choreography by Rachel Lee Flasher and Zachariah Payne, who also serve as intimacy choreographers. The glorious set is augmented well by means of Christina Watanabe’s excellent lighting and Amanda Werre’s proficient sound design. The costumes, by Dottie Marshall Englis, are meticulously crafted and colorful, fitting in with the overall whimsical tone of the show and working well with the aforementioned stunningly realized set. 

In no uncertain terms, Sherwood is simply a hilarious, adventurous romp through the forest, with an adventurous spirit and an enthusiastic cast that gives this production an extra dose of warmth, charm, and chaotic energy. It’s a comedic triumph for director Kate Bergstrom and the entire cast and crew. There’s even a clever use of audience participation at various points, providing even more enjoyment to this bold and simply fun adventure in Sherwood Forest. 

Matt Lytle, David Weynand
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ken Ludwig’s Sherwood: The Adventures of Robin Hood until April 13, 2025

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“Cabaret” Captivates, Challenges With Memorable Staging at NJT

March 22, 2025 by Michelle Kenyon ("Snoop")

Cabaret
Book by Joe Masteroff, Based on the play by John Van Druten and Stories by Christopher Isherwood
Music by John Kander, Lyrics by Fred Ebb
Directed by Rebekah Scallet
Choreographed by Ellen Isom
New Jewish Theatre
March 20, 2025

Jayson Heil, Lillian Cooper, Spencer Davis Milford, Hailey Medrano, Otto Klemp, Caroline Pillow
Photo by Jon Gitchoff
New Jewish Theatre

Cabaret is a classic musical that continues to entertain, disturb, and challenge all at the same time, in every production of it I have seen. The latest production at the New Jewish Theatre is the third live production of this show I’ve watched, with the two previous stagings also being from local theatre companies. Considering all three I’ve seen, along with Bob Fosse’s 1972 film, I’ve noticed how well this show works through various incarnations and directors’ visions. At NJT, the emphasis seems more on realism and drama, and it works especially well, considering the strong cast and semi-immersive production values that make for an alternately entertaining, disturbing, and challenging evening of theatre.

If you’re familiar with any version of Cabaret, you know the basic story and setting. It’s Berlin in the late 1920’s, at a seedy nightclub called the Kit Kat Club. The club highlights the party atmosphere of 1920s Germany while also providing commentary on the changing times, as the Nazi party rises to power and threatens to take over. As the theatrical Emcee (Spencer Davis Milford) holds court at the Kit Kat Club, American writer Cliff Bradshaw (Dustin Lane Petrillo) arrives in town looking for inspiration for his next novel, and finds stimulation–intellectual and otherwise–in the Berlin nightlife. Staying at a boarding house run by Fraulein Schneider (Jane Paradise) recommended by his mysterious new friend Ernst Ludwig (Aaron Fischer), Cliff absorbs the atmosphere of Berlin and the Kit Kat Club, striking up a friendship with English nightclub performer Sally Bowles (Hailey Medrano), who imposes herself on Cliff as a roommate when she finds herself suddenly in need of housing. As their relationship builds and evolves, we see the increasingly ominous situation building for all characters, as the political climate starts to shift, Fraulein Schneider strikes up a relationship with kindly Jewish fruit merchant Herr Schultz (Dave Cooperstein) while dealing with difficult tenant Fraulein Kost (Caroline Pillow), and Ernst offers Cliff an alternative way of making money that soon reveals Ernst’s true intentions. Meanwhile, the routines at the Kit Kat Club continue, offering entertainment as well as a commentary on the times, as the world-changing events become more and more inevitable. 

The Kit Kat Club routines can be more or less gritty or stylized depending on the production, and here there’s a balance that lends more on the gritty side while still maintaining a level of gloss. Milford’s Emcee is welcoming and entertaining but with a palpable air of danger about him, and Milford is fantastic in the role, singing and dancing up a storm while leading the terrific ensemble (Jayson Heil, Otto Klemp, Amarachi Kalu, and Lillian Cooper, in addition to the rest of the cast who join in at times). Medrano, as Sally, is also marvelous, selling the musical numbers while also coming across as credibly desperate and not exactly a “star” in the world of the play. Petrillo gives a commendable performance as Cliff, as well, considering this is often a fairly thankless role, and Petrillo provides a strong sense of personality and chemistry with Medrano and his other co-stars to provide an ideal “point-of-view” character for the rest of the proceedings. Paradise and Cooperstein are also especially strong in their compelling and bittersweet subplot, with especially strong singing from Paradise. There are also memorable turns from Fischer as the enigmatic Ernst and Pillow as the lascivious, conniving Fraulein Kost. The whole ensemble is excellent, working well in the production numbers, and with Heil, Klemp, and Kalu ably joining in with the band  as needed on violin, clarinet, and flute respectively. 

The band, led by musical director Carter Haney, is especially strong, essentially included as characters in the show and shining in the Kit Kat Club performances especially. The set by David Blake is nothing short of fantastic, as well, with a realistic two-level nightclub setting featuring a few tables in the audience as well, and allowing for the backstage and boarding house scenes well by means of moving furniture pieces. There are also richly detailed costumes by Michele Friedman Siler that contribute much to the overall atmosphere and character of the show, aided by Denisse Chavez’s excellent lighting and Justin Smith’s equally impressive sound design. There’s also dynamic choreography by Ellen Isom that adds much value to the memorable production numbers. 

Cabaret is a heavy show, with a heavy subject matter, although with the excellent script, memorable Kander and Ebb songs, and nightclub setting, it’s uniquely entertaining, as well. It’s a one-of-a-kind show, but also inherently adaptable depending on the director and casting. It works especially well at NJT, where its message is made all the more timely in its immediacy and sense of realism. This is a historical story with a specific time, place, and situation, but there’s an overarching theme that this kind of situation can happen in any time, any place. This production manages to emphasize both the historical setting and the timeless theme. It’s definitely a must-see. 

Jane Paradise, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Cabaret at the J’s Wool Studio Theatre until April 13, 2025

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Albion’s “Beauty Queen” Highlights Dark Comedy, Strong Performances

March 22, 2025 by Michelle Kenyon ("Snoop")

The Beauty Queen of Leenane
By Martin McDonagh
Directed by Robert Ashton
Albion Theatre
March 16, 2025

Jason Meyers, Teresa Doggett, Heather Matthews
Photo by John Lamb
Albion Theatre

Albion Theatre has quickly established itself as one of St. Louis’s more consistently excellent theatre companies. With an emphasis on works of British and Irish playwrights, director Robert Ashton and his team have turned their attentions to Ireland with their latest offering, Martin McDonagh’s The Beauty Queen of Leenane. This is a darkly comic, often brutal tale that’s consistent with most of McDonagh’s works, and Albion has staged it with a characterful, snarky tone that emphasizes the energy and excellence of a truly great, memorable cast. 

As is usual for McDonagh’s plays, the characters here aren’t necessarily likable, although they are especially well-drawn and memorable. The focus here is on Maureen Folan (Heather Matthews), a middle-aged single woman who shares a small house in rural Leenane, Ireland with her grumpy, demanding mother Mag (Teresa Doggett). The two share an adversarial relationship, as the insecure Mag does what she can to keep Maureen home with her and taking care of her, since her other two daughters have married and moved out. Maureen resents being tied to her demanding mother, who insists on knowing everything about Maureen’s life and constantly “reminds” her that she’s never found a husband, and most likely never will, despite Maureen’s desperate desire to experience love, romance, sex, and anything that will get her away from her demanding mother. When their neighbor, the talkative and self-focused Ray Dooley (Austin Cochran) stops by to invite them to a “coming home” party for his brother Pato (Jason Meyers), who spends most of his time living and working in London, Mag tries to keep Maureen from finding out, but she does anyway and renews her acquaintance with the awkward but oddly charming Pato. Although they hit it off and share hopes for more of a relationship, of course this is a McDonagh play, and nothing runs smoothly. I won’t say anything else because it would spoil too much, but I will say that just when you think things can’t get any worse, remember who wrote this play and you’ll know that they probably will. 

The characters are meticulously well-drawn and, for the most part, decidedly self-centered, and all are played remarkably well by the first-rate cast. Matthews is alternately gruff and persistently hopeful as the neglected, lonely-but-fierce Maureen, and her scenes with the outstanding Doggett as the irrepressibly meddling Mag are a highlight of this production. Meyers brings a strong air of gawky amiability to the show’s most likable character, Pato, and his chemistry with Matthews is convincing enough to get audiences to hope. There’s also a strong supporting performance by Cochran as the memorably annoying Ray, who plays a surprisingly critical role in the plot. 

The atmosphere and mood of this play are well achieved and maintained by means of Chuck Winning’s well-appointed set, Gwynneth Rausch’s props, and Tracey Newcomb’s well-suited costumes. There’s also strong work from set painter Marjorie Williamson, lighting designer Eric Wennlund, and sound designer Ellie Schwetye. The rural Irish setting and tone of this play is crucial, and the technical aspects work well to transport the audience in a vivid and effective way.

Albion has quickly become one of my favorite theatre companies in St. Louis. It doesn’t hurt that I’m already an Anglophile, but the consistent excellence is what maintains the feeling that, when I hear about a new show from this company, I automatically expect it to be good. The Beauty Queen of Leenane is another success for this company, and even though the tone and occasional “gross-out” aspects of McDonagh’s works make me not the biggest fan of his plays, that is more of a personal taste issue and I can see his obvious talent. It’s productions like this one that make his shows especially worth watching.

Austin Cochran
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting The Beauty Queen of Leenane at the Kranzberg Arts Center until March 30, 2025

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