“The Wash” is an Important Story Well-Told at the Black Rep

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

The Wash
by Kelundra Smith
Directed by Chris Anthony
The Black Rep
March 14, 2025

Velma Austin, Paulette Dawn
Photo by Keshon Campbell
The Black Rep

The Black Rep’s latest production is a fascinating new play that’s at once a history lesson and a riveting drama. Playwright Kelundra Smith’s The Wash is based on a real event that’s not as well-known as it probably should be. Featuring a strong cast and impressive production values, it highlights memorable characters and important issues in a way that is both historical and timely. 

Based on a real strike led by Black washerwomen in Atlanta in 1881, the story of The Wash starts out by evocatively showing the early morning routine of a group of women who work for Anna (Velma Austin), who owns her business. The rhythmic movements show the women at work highlighting the complexity and repetition of their daily jobs involving the hard work that laundering clothes entailed in the late 19th Century. The women come from a variety of backgrounds, ages, and family situations. Jeanie (Paulette Dawn) lives at the establishment and is Anna’s closest friend. She’s a widow hoping to be able to visit her new grandchild in New York state, and devoutly religious. There’s also younger married employees Charity (Joy Ike)–who is happy with her husband but hoping to have a child after a series of disappointments–and Thomasine or “Tommie” (Christina Yancy), who hopes for a better life for her children and endures an abusive marriage. There’s also Jewel, an unmarried student who seeks to fund her education and has some bold ideas. When the women find themselves unable to secure consistent pay for their work–laundering clothes for white families–they eventually organize and work to enlist the help of other Black washerwomen in the area, eventually drawing the attention of white washerwomen represented by Mozelle (Jennifer Theby-Quinn), who arouses suspicion among the others but has her own personal reasons for wanting to join the cause. 

Through the course of the story, we see the seeds of the movement grow and gather local and later national attention, as the story makes the papers and the women endure harassment by the authorities and local law enforcement. There are also interpersonal conflicts, as Tommie finds herself in a personal dilemma, Jewel and Jeanie deal with a difference in personal values, Anna and Charity face serious health issues as a result of the harassment, and Mozelle struggles to convince the others that she’s not a spy. It’s a show full of drama, insight, and a persistent tone of striving for better working conditions as well as aspirations for achieving their individual and family hopes and dreams. It’s a well-told story that’s well-paced, although there are a few moments of “telling” rather than “showing”. 

Director Chris Anthony has assembled a fantastic cast, led by a marvelous turn by Austin as the much-enduring Anna. Austin and the equally excellent Dawn portray a convincing strong friendship bond that forms the emotional heart of the show. There are also strong performances by Ike as the optimistic Charity, Yancy as the conflicted Tommie, Jay as the forward-thinking Jewel, and Theby-Quinn making the most of a smaller role as the persistent Mozelle.  It’s a strong ensemble with energy that drives the plot and mood of the show as the story plays out and the tension builds in a believable, attention-holding manner.

The look, sound, and atmosphere of the production are maintained convincingly by means of the marvelous production team. Dunsi Dai’s evocative set blends realism with abstraction, and the lighting by Jasmine Williams, projections by Kareem Deanes, and sound by Asha Ti-Nu expertly contribute to this overall poetic tone. There are also meticulously detailed costumes by Lou Bird, and memorable choreography by Heather Beal that adds to the overall musical sense of the show, even though it’s not a musical.

The Wash is an excellent example of a drama that teaches a historical lesson while also focusing on character and the timelessness of the message. It’s another example of the terrific casting and staging that the Black Rep is known for. If you haven’t heard of the subject of this play before, you know about it now, and this play has told a fascinating tale with an remarkable air of immediacy and importance. 

Cast of The Wash
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting The Wash at COCA’S Catherine B. Berges Theatre until March 30, 2025

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“Rocky Horror” is Back at New Line with Campy, Well-Cast Production

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

The Rocky Horror Show
Book, Music, and Lyrics by Richard O’Brien
Directed by Scott Miller and Chris Moore
Choreographed by Chelsie Johnston
February 28, 2025

Katie Orr, Bee Mecey, Tori Shea Cole, Rafael DaCosta, Chelsie Johnston
Photo by Jill Ritter Lindberg
New Line Theatre

The Rocky Horror Show is a cult hit with a life of its own, having spawned a perhaps more well-known film and gathered a legion of fans over the last 50+ years. Especially if you’re into dark, campy, raunchy homages of old B-style sci-fi and horror, or if you’re curious to see what everyone has been talking about, this show is worth seeing at least once. At New Line, the production is apparently taking a “back to basics” approach that is focused on capturing the independent, small-theatre vibe that the original stage show had back when it first opened. For the most part, this approach works, especially with the talented cast, simple-but-effective production values and overall horror-comedy vibe, although I do think the campiness could benefit from being  turned up a notch in places. 

After an introduction that sets the tone by calling  back memories of old sci-fi/horror films, the story starts in “earnest” as we meet Brad (Rafael DaCosta) and Janet (Brittany Kohl, an overly perky, “innocent” newly engaged young couple. When their tires blow out on a trip to visit their old teacher Dr. Scott (Christopher Strawhun), they seek out a nearby castle to use their phone, and are led into a world weirder than their wildest dreams. Dr. Frank N. Furter (Todd Schaefer), a corset-and-fishnets clad self-described “Sweet Transvestite” is the proprietor of this castle, attended by cohorts Riff-Raff (Bee Mecey), Magenta (Katie Orr), and Columbia (Tori Shea Cole). Frank is working on a new project, a scantily-clad, muscular “Creature” known as Rocky Horror (Zachary Thompson), while Riff-Raff and Magenta keep dropping hints of an extraterrestrial origin and a desire to go back “home”. Meanwhile, Brad and Janet are given an unexpected “awakening” of sorts and are compelled to participate in a “floor show”. 

There isn’t much plot here, really, since this show is more about concept and camp than plot. It’s about the vibe and the aesthetic, which at times can be a little underdone here, compared to the previous version of this show I have seen (I haven’t seen the film). The cast is generally enthusiastic, with terrific performances especially by DaCosta and Kohl–who turn in strong comic performances–and Shaefer, who hams it up with a touch of menace as Frank.  There’s also strong ensemble energy by everyone else, including Chelsie Johnston as the Narrator. As is usual for New Line, there’s great singing as well, although there are moments when the sound isn’t clear, and one full song–“Eddie’s Teddy”, in which Dr. Scott tells the backstory for Frank’s earlier “project” character, the doctor’s nephew Eddie (also Strawhun)–where the harmonies sound nice, but I couldn’t understand the words, and I was sitting in the front row. The rest of the songs are fairly clear, though, and some numbers like the well-known “The Time Warp” are full of energy and excellently sung and choregraphed by Johnston. The New Line Band, led by music director Randon Lane, does a good job on the show’s catchy score, although there are a few moments when they tend to drown out the singers.

The look of the show is a bit more subdued than I have seen before, but it works, with a simple set by Rob Lippert that features a central runway and a series of microphones, almost suggesting a concert-like atmosphere. The lighting by Jack Kalan is terrific, maintaining just the right mood and vibe, and Eric Goodenough’s costumes are colorful and eye-catching, contributing a stylish air to the overall early 70s and sci-fi/horror theme of the show.

Overall, if you love Rocky Horror, you should enjoy this show. Even though there are times when it seems a bit subdued, for the most part it’s a weird, wild ride of a show. Also, while direct audience participation (like for the film) is discouraged, the audience was enthusiastic, with some attending dressed up for the occasion. This is the second show in a season of repeat productions for New Line, and it entertains with energy and campy, creepy style. 

Tori Shea Cole, Todd Schaefer, Brittany Kohl, Rafael DaCosta
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting The Rocky Horror Show at the Marcelle Theatre until March 22, 2025

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Thoughtfully Reinvented “Some Like It Hot” Entertains in Style at the Fox

February 28, 2025 by Michelle Kenyon ("Snoop")

Some Like It Hot
Book by Matthew Lopez and Amber Ruffin
Music by Marc Shaiman, Lyrics by Scott Wittman and Marc Shaiman
Based on the Metro-Goldwyn-Mayer Motion Picture “Some Like It Hot”
Directed and Choreographed by Casey Nicholaw
The Fox Theatre
February 26, 2025

Tavis Kordell, Matt Loehr
Photo by Matt Murphy
Some Like It Hot North American Tour

Some Like It Hot is a classic American film that has the unusual distinction of having been adapted into two different Broadway musicals. While 1972’s Sugar  was a more straightforward adaptation (which I have seen because my high school performed it in the 1980s), the newer, Tony-winning Some Like It Hot is more of a thoughtful reinvention and recontextualization of the source material, with some clever homages to the original film and a catchy, jazz-influenced score. With a great cast and fantastic production design, this production is a lively, entertaining show with energy, style and a whole lot of heart. 

Taking place at the tail-end of Prohibition in 1933, the action starts in Chicago, as does the film. This time, however, Sweet Sue (Tarra Connor Jones) starts her “all-girl” band after having been arrested in a police raid at a speakeasy, and their tour leads them to California rather than Miami, in an entirely logical change (explained in the show) that also pays tribute to the real filming location of the movie, the Hotel Del Coronado near San Diego. The main characters, Joe (Matt Loehr) and Jerry (Tavis Kordell), are musicians but also song-and-dance performers who grew up together and are looking for a new job. When they accidentally witness a mob hit by new boss, nightclub owner and gangster Spats (Devon Goffman), they go on the run, taking Joe’s idea to disguise themselves as women in order to join Sweet Sue’s band and flee to California and, eventually, Mexico. While on tour, however, “Josephine” and “Daphne” get to know their fellow band members, with Joe becoming attracted to singer Sugar Kane (Leandra Ellis-Gaston), and Jerry/Daphne starting to feel more accepted and at home as Daphne than as Jerry. The situation gets more complicated when they arrive in California and prepare for their performance at the Hotel Del Coronado, where Joe assumes an “alter ego” in order to woo Sugar and the band meets hotel owner Osgood (Edward Juvier), who is instantly smitten with Daphne. Meanwhile, Spats has also arrived in California hoping to silence the witnesses to his crime, and various characters face moments of truth about who they are and what they want to do with their lives. 

The adaptation, while making some clear changes to the original film, is impressively well thought-through, with every change making sense and adding much in the way of character development and advancing the theme of self-discovery and expression. It also recontextualizes the source material to allow for a diverse cast, adding layers of complexity to the story. Also, making the central characters singers and dancers as well as musicians makes sense in the context of a stage musical and lends a level of pizzazz to production numbers featuring some excellent tap-heavy choreography by director Casey Nicholaw. The show also explores issues of racism and prejudice, gender roles, individual identity and expression, and more while maintaining a lively, musical comedy atmosphere and featuring overall upbeat atmosphere and glitzy, glamorous Broadway and 1930s Hollywood style. 

The cast is excellent, led by strong, charismatic and athletically dancing performances by Loehr as Joe/”Josephine”/”Kip” and Kordell as Jerry/Daphne. These two form the emotional core of the show, supported well by fantastic work from Ellis-Gaston as the talented, Hollywood-aspiring Sugar, Jones as the tough-talking Sweet Sue, and Juvier as the kindly, enthusiastic Osgood, who has a secret of his own. There are also strong turns from Goffman as the shady Spats and Jame LaVerdiere as the persistent FBI Agent Mulligan. There’s also a top-notch ensemble who lend much energy and comic timing to the story as well as terrific singing and dancing.

In a technical sense, the show featuring eye-catching scenic design by Scott Pask and colorful, detailed costumes by Gregg Barnes that are in keeping with the era and tone of the production. There’s also dazzling lighting by Natasha Katz and stylish hair design by Josh Marquette. The sound by Brian Ronan is fine for the most part, although there are some issues with volume and clarity on some of the songs. 

Ultimately, this show does what it sets out to do–entertain in style. It’s more of a reimagining of the film than a straightforward adaptation, but that had already been done. Here, Some Like It Hot dazzles with songs, dances, and laughs, but also thoughtfully recontextualizes the source material in a way that makes sense without  changing the overall tone of the story. It’s a lively tribute to the film while also managing to be its own unique thing. It’s a lot of fun, and well worth checking out.

Leandra Ellis-Gaston (Center) and Cast
Photo by Matthew Murphy
Some Like It Hot North American Tour

The North American Tour of Some Like It Hot is running at the Fox Theatre until March 9, 2025

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STLAS Does Justice to a Much-Studied Masterpiece with Riveting “Long Day’s Journey”

February 21, 2025 by Michelle Kenyon ("Snoop")

Long Day’s Journey Into Night
by Eugene O’Neill
Directed by Austin Pendleton
St. Louis Actors’ Studio
February 16, 2024

Meghan Baker, William Roth, Dustin Petrillo, Joel Moses
Photo by Patrick Huber
St. Louis Actors’ Studio

Long Day’s Journey Into Night has a legendary pedigree. It’s considered the magnum opus of one of the most celebrated playwrights of the 20th Century, and it’s been performed and studied at many levels. I read it in high school but hadn’t seen a live performance until this current production from St. Louis Actors’ Studio, which–as directed by celebrated actor and director Austin Pendleton–has proven to be a riveting, ideally cast production that shows just how powerful and profound this play can be. 

Seeing this production, I can see how this play can be seen as such a challenge. The story, openly based on O’Neill’s own life and family, can easily come across as talky and slow if not directed well, but thankfully this production has an ideal director and a stellar cast. The title refers to the fact that the action takes place over one long day, at the summer home of the Tyrone family in 1912. Here, patriarch James Tyrone (William Roth), a celebrated actor who has spent a large part of his career touring in one role, has gathered with his wife, Mary (Meghan Baker) and two sons.  The elder son, the somewhat profligate Jamie (Joel Moses), is also an actor; and the younger son, Edmund (Dustin Petrillo) is an aspiring writer who is suffering from an ailment that the family fears could be consumption (now called tuberculosis). Father and sons are on eggshells around Mary, who has recently returned from a sanitarium to treat her morphine addiction, and Mary herself is in denial about Edmund’s condition, while the sons deal with living up to their parents’ expectations and James’s persistent stinginess, and both James and Mary deal with past regrets regarding James’s career decisions, the loss of a child, and Mary’s remembrances of her life and aspirations attending a convent school before she met James. There’s a lot of reflection, regret, and conflict here, as we also get to see as Edmund has become something of the “last hope” for his family, although that idea is shown more than it’s spoken.

This is a long play, and there’s not much in the way of “action”, although a lot happens in terms of the balance in the relationships and revelations regarding the characters. The pacing is crucial, considering the length of the play, and the performances here give weight to O’Neill’s reflective and intelligent script. The characters are cast well, with each performer given moments to shine, led by Baker’s heartbreakingly convincing portrayal of Mary, who displays a vivid and convincing range of emotions and works well with Roth’s more matter-of-fact James, whose emotions come out more in the play’s last act, along with hints of an Irish brogue that work well to reveal his character’s loss of control while still trying hard to maintain it. Moses and Petrillo are also convincing as the brothers, with Moses credibly portraying the cynical, hard-drinking Jamie and Petrillo embodying Edmund’s talent and ambition along with his concern for his family and personal doubts. Bridgette Bassa also turns in a fine supporting performance as the family’s Irish servant, Cathleen. The drama and emotion here comes largely from the powerful and believable interactions among the characters, with all five players contributing the building sense of urgency and tension as the play goes on.

The mood and atmosphere of the play are also well-realized by means of Patrick Huber’s evocative minimalist set and excellent lighting design, as well as Kristi Gunther’s strong sound design. Teresa Doggett’s costumes are meticulously detailed and suit the characters well, and there’s also excellent work from props designer Emma Glose.  All of these elements work together seamlessly to achieve a convincing dramatic tone and period setting.

Long Day’s Journey Into Night is a much written and talked-about masterpiece, and this production from STLAS and director Austin Pendleton make it easy to see why this play is so lauded. There are many layers of depth in the story, the characters, and the relationships, and a convincing theatrical atmosphere as well. It’s a masterpiece not only for O’Neill, but also for St. Louis Actors’ Studio.

Meghan Baker, Bridgette Bassa
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Long Day’s Journey Into Night at the Gaslight Theater until February 23, 2024

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“Coconut Cake” Tells a Fascinating Character-Driven Story at the Black Rep

February 21, 2025 by Michelle Kenyon ("Snoop")

Coconut Cake
by Melda Beaty
Directed by Geovonday Jones
The Black Rep
February 14, 2025

Richard Harris, Richard E. Waits, Joe Hanrahan, Duane Foster
Photo by Keshon Campbell
The Black Rep

The Black Rep’s current production, Melda Beaty’s Coconut Cake, is a character-driven showcase for its performers. It’s almost deceptively simple at first, while ultimately revealing itself to be much more complex as the story plays out. With effective staging and an excellent cast of five, this play holds attention from start to finish with its intriguing tale of aging, regret, conflict, and redemption. 

The story has a somewhat unexpected setting–a McDonald’s in Chicago, circa 2010. The fast food restaurant is the setting for a weekly gathering of a group of four men of distinctly different personalities and views of life an relationships. Church deacon Marty (Richard E. Waits) plays chess with Hank (Joe Hanrahan), who was married to Marty’s sister until she died the previous year. Eddie (Duane Foster) seeks out Marty’s help in a conflict with his unseen wife, and Eddie’s longtime friend Joe (Richard Harris)–a real estate developer–stresses about his projects and tenants, and brags about his many relationships with women. The four men swap stories about their lives and about their relationships with women–wives, girlfriends, daughters–even regularly ogling an unseen woman who regularly passes by the McDonald’s every week on her way to work. The fifth member of the cast is a man most of the others refer to as “Gotdamnit”–who appears to not have a permanent home and who they criticize for apparently bothering the woman who passes by. They also trade gossip about one of Joe’s new tenants–a woman who attracts the amorous interests of several men in the area. Through the course of the show, personalities conflicts come to the forefront and long-held secrets are revealed, as some characters are forced to reckon with past regrets and present conflicts. 

I don’t want to give away too much, because the gradual unfolding of this story is part of what makes it so powerful. The performances are especially strong from all the players, with Waits and Foster in memorable turns as the “voice of reason” Marty and the conflicted Eddie. Harris, as the outspoken Joe, and Hanrahan as the more softspoken Hank, are also excellent, and Evans is a revelation as the mysterious “Gotdamnit”, whose cryptic messages about life and chess prove to mean more than they first seem to. It’s a first-rate ensemble, well directed and paced by director Geovonday Jones, bringing out every ounce of humor and drama in the intriguing, if possibly a little overlong, script. 

The set by Tammy Honesty is an effective representation of the seating area of a McDonald’s restaurant, which works as a suitable background for the action of the play. Tony Anselmo’s lighting adds a convincing sense of realism and occasional mystery to the action, and there’s also excellent work from Alan Phillips on sound. Brandin Vaughn’s costumes are also strong, suiting the characters and the time period well. 

I didn’t entirely know what to expect when going into this show, and it has turned out to be a welcome surprise. With a strong message and palpable sense of drama balanced with humor, this is a memorable look at these five characters’ struggles, conflicts, and aspirations. It’s another example of  excellence from one of St. Louis’s most consistently strong theatre companies. 

Lawrence Evans, Joe Hanrahan
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Coconut Cake at Washington University’s A. E. Hotchner Studio Theatre until March 2, 2025

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WEPG Explores Relationship Possibilities With Fascinating “Constellations”

February 15, 2025 by Michelle Kenyon ("Snoop")

Constellations
by Nick Payne
Directed by Karen Pierce
West End Players Guild
February 13, 2025

Caleb D. Long, Summer Baer
Photo by John Lamb
West End Players Guild

For Valentine’s season this year, West End Players Guild is looking at a relationship at various angles. Exploring the idea of a “multiverse” and all the endless possibilities of how two people can meet, form or not form a relationship, and experience the triumphs and tragedies of life, Constellations is already an intriguing show, and I’ve seen it done well by another local company a few years ago. At WEPG, however, director Karen Pierce and two excellent actors find even more fascinating drama in this already rich script. 

Roland (Caleb D. Long) and Marianne (Summer Baer) are a pair of English would-be lovers who meet and get together, or not–and then break up, or not, in various ways. Marianne works in quantum physics at Cambridge, and she brings up the concept of a “multiverse” in describing her work, but the structure of the play explores that idea in the various moments in the couple’s relationship. The story is sort of linear, with occasional time jumps to a later period in which a serious and potentially tragic situation is occurring–again, in a variety of ways. It’s a fascinating play, as the various replayed scenarios explore the characters and how they relate, as well as playing out the oft-pondered  idea of “what would happen if you changed this one small thing?”  It’s a show full of wit, humor, and poignant drama, with the fascinating conceit of the multiverse serving as a way of further exploring the personalities of these intriguing characters and their relationship. 

The production values are deceptively simple, with director Karen Pierce designing the set and the lighting as well, with Ted Drury designing the sound. All the technical elements serve the story, but there isn’t anything flashy or elaborate. It’s just two people on a mostly bare stage, with staging, pacing, and lighting enhancing the mood as needed and aiding quite a bit in adding clarity to the story. The main focus is on the characters, and the marvelous performances of the two actors, who both turn in remarkable performances. Their chemistry is believable and compelling, with Long’s somewhat geeky and earnest Roland and Baer’s more impulsive, outgoing Marianne working well together, and Baer especially bringing out a wide range of emotions as her character arc (or arcs, really) drives the story for the most part. 

If you’ve ever found yourself wondering “what would my life be like if…”, then Constellations is a show for you. At WEPG, it’s a profound and compelling experience anchored by excellent acting and brisk pacing. It’s a contemplative, dynamic show that’s sure to provoke a lot of thought and discussion. 

Caleb D. Long, Summer Baer
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Constellations at Union Avenue Christian Church until February 16, 2025

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“Shucked” at the Fox is Fun, But Maybe a Little Too Corny

February 12, 2025 by Michelle Kenyon ("Snoop")

Shucked
Book by Robert Horn, Music and Lyrics by Brandy Clark and Shane McAnally
Directed by Jack O’Brien
Choreographed by Sarah O’Gleby
The Fox Theatre
February 11, 2025

Danielle Wade, Miki Abraham
Photo by Matthew Murphy and Evan Zimmerman
Shucked North American Tour

Shucked is all about corn, both in a literal and figurative sense. Yes, the story is about a county that depends upon its corn crop for its livelihood, but I also wonder if there’s ever been another musical that relies so heavily on goofy jokes for its appeal, especially as compensation for a relatively thin plot. Don’t read me wrong–this show is a whole lot fun, and it’s not really trying to be high art. It’s currently playing at the Fox, with a strong, energetic cast and lively production values, and unless you have no sense of humor at all, there are a lot of laughs here. I like it, but I can’t help but feel overdosed on sweetness at the end, kind of like I’ve had an overly large milkshake. It tastes good, but did I really need that many empty calories?

Sometimes, though, empty calories are just fun, and Shucked is certainly a lot of fun, even though I do keep wishing for a little more in terms of plot. What plot there is is padded out a lot with jokes that are funny, but don’t serve much purpose other than provoking more laughs. It’s a fairly simple premise, told by a pair of perky narrators (Maya Lagerstam, Tyler Joseph Ellis)–Cob County is an isolated community where all aspects of life revolve around its corn crop, which begins to die just as local couple Maizy (Danielle Wade) and Beau (Jake Odmark) are about to get married. Since nobody has ever left Cob County, the locals all object when Maizy suggests sending someone out into the outside world to find someone who may be able to help save the corn. Everyone, including Maizy’s kindly Grandpa (Kyle Sherman), Beau’s jokester brother Peanut (Mike Nappi),  and even her independent-minded entrepreneur cousin Lulu (Miki Abraham) are against Maizy’s idea, and Beau is actually insulted because Maizy doesn’t trust him to fix the corn on his own. Well, Maizy leaves anyway, ending up in the strange new world of Tampa, where she meets Gordy (Quinn Van Antwerp), who Maizy mistakes for a corn expert, and because Gordy is a con man and in a lot of debt, he goes back with her for self-serving reasons, turning on the charm all the way and convincing Maizy that’s he’s in love with her. When they get back, everyone seems on board with Gordy except for Lulu and the jealous Beau, although Lulu soon reluctantly finds herself attracted to Gordy as well. Since this is an upbeat comedy, it shouldn’t be a spoiler to say everything eventually gets worked out, but it’s all in the midst of a bunch of corny jokes and puns and some catchy tunes and production numbers. 

The cast is excellent, led by Wade in an enthusiastic, highly likable and well-sung turn as the optimistic Maizy and by Abraham as the tough-talking, enterprising Lulu, who gets perhaps the show’s best number, “Independently Owned”, turning in a great performance. Van Antwerp is also strong as Gordy, with the requisite charisma and charm, and Odmark does about as well as he can with the underwritten role of Beau. Nappi is fun as Peanut, displaying great comic timing, and although the character basically just exists to tell corny jokes, Nappi does this well. Lagerstam and Elli make for amiable, strong-voiced narrators as well, and the whole ensemble is perky, upbeat and all in on all the goofy jokes and humor. 

The show looks great visually, with a striking, versatile set by Scott Pask and bright, colorful costumes by Tilly Grimes. The lighting by Japhy Weideman and especially the clear sound by John Shivers contribute much to the overall atmosphere and energy of the proceedings. There’s also energetic dancing cleverly choreographed by Sarah O’Gleby, and a small but lively orchestra led by music director Nick Williams.

Overall, Shucked is lots of corny, upbeat fun, with a dash of raunchiness thrown into the mass of jokes from time to time. Even though there are a lot of issues someone could have with the plot if they really thought about it, this isn’t really that kind of show. It’s here to entertain, and it does that. I guess sometimes you really just want that oversized milk shake, even if it may be sweetened with a little too much corn syrup. 

Cast of Shucked
Photo by Matthew Murphy and Evan Zimmerman
Shucked North American Tour

The North American Tour of Shucked is running at the Fox Theatre until February 23, 2025

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Sandwiches Become a Life Lesson in the Rep’s Funny, Insightful “Clyde’s”

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

Clyde’s
By Lynn Nottage
Directed by Josiah Davis
Repertory Theatre of St. Louis
February 7, 2025

Brendan Hickey, Essence Anisa Tyler, Alfredo Antillon, Ron Himes
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

 

Clyde’s, currently onstage at the Repertory Theatre of St. Louis, is one of those shows that may make you hungry, with all its focus on the craft of sandwich making, including artfully staged sequences that remind me of the pie-making scenes in the musical Waitress. This show by celebrated playwright Lynn Nottage is about more than just food, though, as its characters struggle to make sense of life after prison and deal with a hard driving boss who has some lessons of her own to learn from them. This vivid, often humorous and occasionally poignant story is brought to life by a great cast and the first-rate production values for which the Rep is known.

The sandwich artist in residence at Clyde’s truck stop is Montrellous (Ron Himes), who has become something of a Chef-guru to the younger line cooks he works with. He also tries his best to introduce the crusty owner Clyde (Phyllis Yvonne Stickney) to his sandwich-inspired enlightenments, but she consistently refuses to partake, in the sandwiches as well as the wisdom they influence. The rest of the staff–all formerly incarcerated and trying to make a new life–hang on Montrellous’s words while they get on with their jobs and try to keep up with Clyde’s demands and avoid her wrath. Single mother Letitia–or “Tish–is trying to manage her work schedule while taking care of her young daughter, and Rafael (Alfredo Antillon) tries to be her friend and possibly more. Meanwhile, Jason (Brendan D. Hickey) is a newcomer to the kitchen, just having been released and facing the suspicions and assumptions of his co-workers. Slowly but surely, we hear more of their stories as the group bonds over shared experiences, a common adversary, and of course, sandwiches. Meanwhile, Montrellous maintains his smooth demeanor while doling out life lessons and encouraging his pupils to look beyond the walls of the kitchen to see what goals they can attain in life, all the while continually trying to convince the cynical Clyde that there really is something to learn from the art of sandwich making.

The pace of this show is quick and deliberate, well-measured by director Josiah Davis and carried out by an impressive cast led by local legend Himes, who is superb as the guru-like Montrellous, with a strong presence and magnetic personality, adding credibility to his influence on the character’s younger co-workers. There’s also excellent work from Tyler as the determined Tish, Antillon as the amiable, ambitious Rafael, and Hickey as the initially guarded Jason. Stickney is also superb as the cranky, demanding, and insistently cynical Clyde, who persistently resists the appeal of the sandwiches and the promise of “more to this life” that they represent. The overall rapport that develops among the cast is credible as well, and there’s a believable balance between the humor and moments of drama. The production team has also consulted with representatives from Prison Performing Arts–LaWanda Jackson and Eric Satterfield–to add to the overall credibility of the presentation.

Technically, this production is as impressive as has come to be expected at the Rep, with a thoroughly realistic set by Jean Kim that ably evokes the environment of a busy truck stop kitchen. There’s also especially impressive work from lighting designer Christina Watanabe and sound designer Michael Costagliola in achieving a convincing balance between realism and the more fantastical sandwich-making sequences. There are also excellent costumes by Hayden Zelideth that suit the characters well and add to the overall vibe of the show.

Clyde’s runs at about 100 minutes with no intermission, and there are no dull moments. It’s a piece that manages to entertain and enlighten while presenting a realistic environment with a moments of poignancy and stylized, artistic whimsy. There’s a lot to learn from sandwiches, apparently, and this show teaches its lessons well.

Phyllis Yvonne Stickney, Essence Anisa Tyler, Brendan Hickey, Alfredo Antillon, Ron Himes
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Clyde’s until March 2, 2025

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SDT Focuses on Empathy, Kindness in Ideally Cast “Curious Savage”

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

The Curious Savage
by John Patrick
Directed by Gary F. Bell
Stray Dog Theatre
February 6, 2025

Tyson Cole, Liz Mischel, Gansner, Lindsey Grojean
Photo by John Lamb
Stray Dog Theatre

The Curious Savage may have flopped on Broadway when it debuted in 1950, but it’s had a vibrant life as a staple of regional, community, and school theatre in the decades since. Now, Stray Dog Theatre and director Gary F. Bell have brought John Patrick’s quirky, characterful comedy to their Tower Grove Abbey stage with wit, energy, and a first-rate cast that emphasize the show’s themes of kindness, compassion, and empathy in the midst of misunderstanding and greed in the outside world. In some ways, it’s a look at life in the past, but its message is timeless and engagingly compelling.

The story follows Ethel P. Savage (Liz Mischel), an eccentric widow and sometime actress who wants nothing more than to use her late husband’s fortune, that she has inherited, to give away and help people achieve their dreams. Unfortunately, her greedy adult stepchildren have other ideas and have Ethel committed to a private sanitarium, The Cloisters, as a way of trying to get the money from her. The establishment, headed up by the kindly Dr. Emmett (David Wassilak), assisted by capable nurse Miss Willie (Claire Coffey), is home to a quirky collection of residents who welcome Ethel with open arms. The contrast between the self-centered stepchildren and the patients at The Cloisters becomes clear as the stepchildren–stuffy senator Titus (Matt Anderson), much-married socialite Lily Belle (Sarajane Clark), and smarmy judge Samuel (Joseph Garner)–seem only out for their own interests, while the patients care about Ethel even in the midst of their own struggles. The story that unfolds is humorous and madcap on one level, but also serves as an object lesson in compassion and empathy.

The ensemble chemistry is essential here, with the truly terrific Mischel as Ethel leading a superb cast that works together especially well, displaying the strong bond that develops between Ethel and the patients in a credible “us vs. them” dynamic. Everyone has an important role, from Anne Vega’s motherly Florence, to displaced statistician Hannibal (Gansner), as well as the semi-silent and disgruntled Mrs. Paddy (Camille Fensterman); the childlike  Fairy May (Lindsey Grojean); to insecure war veteran Jeffrey (Tyson Cole), who suffers from survivor’s guilt and memory loss. Everyone is ideal for their role, with Grojean a particular standout in an energetic, vulnerable performance that reminds me in ways of Gilda Radner. There’s also excellent work from Wassilak as the even-tempered and kind Dr. Emmett, and Coffey as the caring Miss Willie, who has her own personal reasons to be there that will be revealed as the story goes on. As the greedy stepchildren, Anderson, Clark, and Garner make for a hilarious and pitiful trio, serving as a striking contrast to the gentler, more genuinely caring patients at the Cloisters.

The look and mood of this production are well maintained through director Bell’s excellent pacing and well-decorated set, aided by Colleen Michelson’s detailed period styled costumes. There’s also memorable work from sound designer Justin Been, with the use of music working especially well with the action. Tyler Duenow’s lighting is also proficient in helping to achieve and support the overall whimsical tone of the show.

Stray Dog Theatre is having excellent success lately with shows from the 1950’s, after closing out 2024 with a fun production of Bell, Book & Candle. The Curious Savage is in a similar vein as that show, but with more of an insightful, compassionate edge and a message that’s still as relevant today as it was 70 years ago. It’s also a remarkable showcase for a well-chosen and energetic cast. It’s a great way to start off the new year at SDT.

Cast of The Curious Savage
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting The Curious Savage at Tower Grove Abbey until February 22, 2025

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Chorus of Fools Does a “Double Take” of Promising New Plays

February 6, 2025 by Michelle Kenyon ("Snoop")

Double Take
Chorus of Fools
January 30, 2025

On of the newer theater companies in St. Louis, Chorus of Fools, recently presented a duo of new plays by local playwrights at Greenfinch Theater & Dive. Called by the collective name Double Take, the two one-acts each featured the work of strong casts and talented local playwrights. Both are comedies, but with a touch of drama added in, covering topics from the conspiratorial to the controversial, but focusing on the human experience and vulnerabilities of their characters.  Here are some thoughts on each play:

 

The Bigfoot Diaries
by Eric Satterfield
Directed by e.k. doolin

Xander Huber, Moira Healy
Photo by David Nonemaker
Chorus of Fools

Bigfoot is big business in a small North Carolina town, especially during their annual Bigfoot Days Festival. This play, framed as a podcast episode narrated by local journalist Harper (Irene Cornett) is essentially an examination of insecurity, manipulation, and obsession, and how these affect the town and especially the life of one young man who runs a Bigfoot themed tourist shop.

Marty (Xander Huber) doesn’t really believe in Bigfoot, but he’s been obsessed with the story of the creature his whole life nonetheless. As the town’s sheriff, Ruby Lee (Nikki Plato) investigates a recent incident in the woods in which a local teen, Daniel (Zach Pierson) was injured, Harper seeks to interview Marty for a story in the local paper. Meanwhile, Marty struggles with his own insecurities concerning his past as well as his burgeoning relationship with Cassie (Moira Healy), who works at his store. Soon, we learn that there’s more to the developing mystery than meets the eye, and some characters may not be as innocent as they seem.

This is an engaging play with a fun sense of humor and an intriguing premise, especially in its focus on Marty and his relationships, although the story seems a bit rushed as it begins to wind down, and the ending seems a little too easy. Huber is excellent and sympathetic as Marty, though, and the characters are well drawn, for the most part. There are strong performances all around, and Huber’s chemistry with Healy’s likable Cassie is a highlight. The technical aspects of this show are well done, with memorable costumes by LaWanda Jackson and Hazel McIntire, and fun props by Vickie Delmas, with strong lighting by Erik Kuhn, and excellent sound and projections by Eric Satterfield. 

The Pavement Kingdom: A Clinic Escort Play
by Courtney Bailey
Directed by Rachel Tibbetts

Marcy Wiegert
Photo by David Nonemaker
Chorus of Fools

This play, by the imaginative Courtney Bailey, is something of a stand-up routine with a story, featuring a tour-de-force performance by Marcy Wiegert as Charon, who tells her eventful story while on duty as an escort at an abortion clinic. 

At first, I wasn’t sure if this was really going to be much of a play, considering it spends a good amount of time as essentially an excuse for Charon to tell jokes. This part of the play could possibly stand being trimmed a bit, but it does eventually lead somewhere, as Charon’s presentations about comic “bits” eventually turn into an emotional personal story, as well as a kind of object lesson in empathy. The structure makes sense for Charon’s guarded-but-ultimately-vulnerable character, although I do wonder if the first part could be condensed a bit. 

Wiegert is fantastic as Charon, with excellent comic timing and a snarky but engaging personality, as well as a strong dramatic ability when it is needed, especially as the story finally veers more out of “stand up” territory and gets more personal. The character’s journey is at the heart of the story, and Wiegert plays it well. The costumers and props designers deserve kudos here, as well, with Charon’s colorful outfit and props adding to the overall mood and attitude of the story. 

Overall,  Double Take has served as an intriguing showcase for two local playwrights and some fantastic local performers, fitting well into the Greenfinch space and supported by an enthusiastic audience. It’s a memorable theatrical endeavor for this theater company.

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