Posts Tagged ‘albion theatre’

“Rosencrantz & Guildenstern” Philosophize and Hold Attention in STLSF and Albion’s Fascinating Collaboration

Posted in St Louis Theatre, tagged , , , , , , on March 30, 2026| Leave a Comment »

Rosencrantz & Guildenstern Are Dead
by Tom Stoppard
Directed by Tom Ridgely
St. Louis Shakespeare Festival in Association with Albion Theatre
March 29, 2026

Mitchell Henry-Eagles, Ryan Omar Stack
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival has grown a great deal over its lifespan, and now it’s bigger than ever. While, as always, they will be staging their “main event” in Shakespeare Glen later this year, they’ve also added a new production to their repertoire this season. Teaming up with the always excellent Albion Theatre, the festival is taking to the Kranzberg Arts Center to stage Rosencrantz & Guildenstern Are Dead, playwright Tom Stoppard’s absurdist riff on Hamlet, here directed by Tom Ridgely and featuring a strong cast and excellent staging that emphasizes the theatrical to profound effect.

One of Stoppard’s more well-known plays, this is also among the best known of the “retell a familiar literary work through the eyes of side characters” genre, especially among theatrical works. I hadn’t seen the play before this production, but I read it in high school drama class, after we read Hamlet. I didn’t remember it well, because high school was longer ago than I sometimes realize, but I remembered the general vibe. As always with plays, though, seeing it live is even better than reading, and seeing this very wordy play brought to life with well-defined characters and fully realized performances makes it all the more entertaining, and thought-provoking. It helps the audience to be familiar with the plot of Hamlet, and some knowledge of absurdism also helps, but there’s still a lot here to think about regardless of prior knowledge.

This show keeps its theatricality on full display, and it begins with the audience being ushered in through a see-through plastic curtain, which stays up for the first segment of Act 1, as Rosencrantz (Mitchell Henry-Eagles) and Guildenstern (Ryan Omar Stack) play a coin-flipping game and ponder the nature of probability. They can’t quite remember what they’re supposed to be doing in the royal court of Denmark, but they vaguely remember being sent for and they make their way there, meeting a traveling theatre troupe on the way. This is, of course, the same group that features in Hamlet, but they have more to do here. The lead Player (Jeff Cummings) becomes something of a recurring foil/provocateur for Rosencrantz and Guildenstern, and the players add much to the humor and sense of inevitability of the story. Our “heroes” soon part with the players (to meet again–and again–later), and end up at Elsinore, where various characters and events from Hamlet weave in and out of their story, including Claudius (Eric Nenninger), Gertrude (Joy Christina Turner), Ophelia (Danielle Bryden), Polonius (Lynn Berg), and Hamlet himself (Sean C. Seifert), only here, the goings on of the “parent play” are like passing moments that must occur, while our bewildered duo still wonder what to make of their roles, their obligations, and their very identities. 

If you know the events of Hamlet, you sort of know where this is going, but we see everything from a new angle, including moments only talked about in the source play. The focus is much more on being and pondering than doing, although there is a fair amount of action especially in the third act, and it seems to pose a general question throughout of “who is in charge, anyway?” Even our leads don’t know for sure, nor do they always seem to know which one of them is which. Still, they are a personable pair, and the looming conclusion takes on a tragic air as the ship on which they find themselves makes its way across the sea. 

The actors are well chosen, and the pacing is just right–not too fast and not so slow as to drag. The two leads, Henry-Eagles and Stack, present relatable if bumbling characters that take the audience along on their existential journey with determination and moments of wit and charm. They make a memorable pair. Cummings as the Player is also a force, with an obvious theatrical air that works to entertain and challenge. The rest of the performers also acquit themselves well, with standout moments from Seifert as a recognizable but somewhat bewildering Hamlet, Nenninger as a commanding Claudius, and India Eddy as a somewhat reluctant young player named Alfred. The whole ensemble is cohesive and energetic, and all are worthy of kudos. In addition to those already mentioned, they include Tiélere Cheatem, Bryn McLaughlin, and Mason Ramsey. 

The technical aspects of this production are in keeping with the whole theatrical tone of the show, which features fourth-wall breaking, meta references, and acknowledging that an audience is present. The audience walking through “backstage” to get to their seats is just the beginning, and the whole set-up uses the Kranzberg black box space to its fullest potential. The set, lighting, and props by Katherine Stepanek and sound by Amanda Werre contribute much to this overall air of being at, and also in, a play. Olivia Radle’s costumes are also cleverly designed and detailed, in keeping with the spirit of this play as well as Hamlet. There’s also excellent work from fight coordinator Bart Williams and intimacy coordinator Nikki Green.

If you love Shakespeare, and especially Hamlet, as well as having a bit of philosophical bent and a fondness for absurdism, this is a show for you. It’s a good starting point for exploring experimental aspects of theatre and connections between Shakespeare and contemporary drama. It’s also an excellent showcase for a magnificent cast. It’s a great new venture for the St. Louis Shakespeare Festival. No wonder all the performances are sold out (but there is still a waiting list)!

Cast of Rosencrantz & Guildenstern Are Dead
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival, in association with Albion Theatre, is presenting Rosencrantz & Guildenstern Are Dead at the Kranzberg Arts Center until April 11, 2026

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“Colder Than Here” at Albion is a Thoughtful, Well-Cast Darkly Comic Look at Death and Dying

Posted in St Louis Theatre, tagged , , , , , on June 16, 2025| Leave a Comment »

Colder Than Here
by Laura Wade
Directed by Robert Ashton
Albion Theatre
June 13, 2025

Livy Potthoff, Susan Wylie, David Wassilak, Anna Langdon
Photo by John Lamb
Albion Theater

Comedies about death aren’t new, but English playwright Laura Wade’s Colder Than Here is an especially clever, thoughtfully constructed one. Currently being staged by Albion Theatre and directed by Robert Ashton, this show features a well-chosen cast and memorable characters whose relationships and emotional journeys are surprisingly relatable. It’s a relatively small cast, but the production leaves a big impression as a weighty topic gets an incisive but sensitive examination. 

What’s the most fascinating to me about this story is the gradual but sure depiction of growth in the characters’ relationships and attitudes as the reality of terminally ill Myra’s (Susan Wylie) impending death gets closer and more immediate. The premise is that Myra has enlisted her daughters–the more erratic, immature Jenna (Livy Potthoff) and the older, more “responsible” Harriet (Anna Langdon) to help her find a “green” burial place for her. She also orders a cardboard coffin that she plans to paint and has clear instructions for her family–including her somewhat prickly, reserved husband Alec (David Wassilak)–about her funeral. As the story starts out, Myra seems a bit more upbeat about the situation than you might expect, although that changes as the story and her illness progress. The various characters have their own ways of coping–or trying not to–with the eventuality of Myra’s death, as Alec immerses himself in the tasks of getting the boiler fixed and repairing a space heater, Jenna deals with a strained relationship with her current boyfriend, and Harriet struggles with Jenna’s neediness and always having to to be the dependable daughter. Over the course of the show, more burial grounds are visited and relationships and attitudes evolve, all told with a witty, occasionally sharp tone that still manages to be believable and thoughtfully handled. It’s clear that there are regrets in this family, and the idea of losing Myra–who is essentially the “glue” of the family–is obviously not welcomed, but it’s also clear that these characters are trying to reach out to one another in their own particular ways. It’s alternately humorous, heart wrenching, and persistently hopeful, and an impressively constructed script.

The characters are embodied in remarkably true-to-life performances led by Wylie as the insistent, earnest Myra, who is clearly the emotional center of her family. There are also strong turns from Wassilak as the guarded but caring Alec, Langdon as the somewhat fussy but also caring Harriet, and especially Pothoff as the initially somewhat grumpy but increasingly involved Jenna. The four make a thoroughly believable family, and the British wit and reserve work especially well in this work, thoughtfully directed by Ashton. Gwynneth Rausch also provides memorable narration of scenes that were originally presented as projections, but (with permission) have been presented here by an onstage narrator.

The sights and sounds of this production add to the overall witty and gently incisive tone of this piece, with versatile set design by Kristin Meyer and evocative lighting by Michelle Zielinski. There’s also strong work from sound and projection designer Ted Drury, particularly in the “grave scouting” scenes. The costumes by Tracey Newcombe are also well done and appropriate for the characters and early 2000’s UK setting, and special kudos go to Jeff Kargus for the construction of the cardboard coffins used in the show.

I had heard good things about Laura Wade’s works before, but I hadn’t been able to see one of her plays until this production. I’m grateful to Albion that such a superbly cast, well-staged version of Colder Than Here has served as my introduction to this talented playwright’s work. It’s another success from the consistently excellent Albion Theatre.

David Wassilak, Susan Wylie, Anna Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Colder  Than Here at the Kranzberg Arts Center until June 29, 2025

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

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on March 22, 2025| Leave a Comment »

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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Strong Performances, Clever Staging Breathe Life into “Lungs” at Albion

Posted in St Louis Theatre, tagged , , , , , on October 23, 2024| Leave a Comment »

Joel Moses, Nicole Angeli
Photo by John Lamb
Albion Theatre

Lungs
by Duncan Macmillan
Directed by Ellie Schwetye
Albion Theatre
October 17, 2024

As I think about it, I don’t think the title of the play is ever spoken in the script of Albion Theatre’s latest production, Duncan Macmillan’s Lungs. Still, even though lungs aren’t actually mentioned specifically, the theme of breath, and the giving and sustaining of life–is highlighted in various ways throughout this simple but expansive story concerning a relationship in various stages. In Albion’s simply but thoughtfully staged production, the characters stand out especially due to the memorable performances of two outstanding local actors.

I was most familiar with Macmillan’s work because of his oft-performed one-person show Every Brilliant Thing, which I’ve seen staged locally by three different companies. Lungs expands the cast by one, as a two-hander featuring two characters identified only as M (Joel Moses) and W (Nicole Angeli), whose story begins in the middle of a life-altering conversation and continues through various situations and struggles over the course of a number of years. The characters are a dating couple who are considering the possibility of having a child, but that’s only the beginning. Throughout the course of the story, we see the conflicts and changing dynamics of their relationship and their lives, as well as both characters’ concern for the environment and revisiting the question of whether or not they are “good people”. Although there is a basic plot, and their are many ups and downs in their lives, the characters essentially are the story here, and even though there are some frustrating aspects of their personalities as well as a fair amount of stereotyping, the story is a strong showcase for two talented performers, who breathe life and energy into a story that seems like it could easily be a drag without ideal casting and strong direction.

Fortunately, this production has both of those key elements, and some simple but elegant staging and technical aspects that add to the drama. Angeli, as the often overthinking W, and Moses, as the insistently optimistic but impatient M, are both remarkable, presenting a credible and fascinating relationship of flawed characters who make the audience root for them despite some of their more frustrating actions. The emotional range an chemistry add to the drama, and both performers work together with expert ability and presence.

The set by Erik Kuhn is simple and clever, with three wooden platforms arranged at different angles. Tony Anselmo’s lighting adds much to the atmosphere and the building sense of tension in the story, Ellie Schwetye’s sound design is effective, and Tracy Newcomb’s costumes suit the characters well. 

Lungs is an intriguing story, well told and especially well acted at Albion Theatre. It’s a show I hadn’t seen before, and this is an excellent introduction. It’s another fascinating work from one of St. Louis’s newer theatre companies that is continuing to make an indelible impression on local audiences. 

Nicole Angeli, Joel Moses
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Lungs at the Kranzberg Arts Center until November 3, 2024

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Albion Explores Relationships, Mental Health in Well-Cast “Woman In Mind”

Posted in St Louis Theatre, tagged , , , , , , on June 14, 2024| Leave a Comment »

Woman In Mind (December Bee)
by Alan Ayckbourn
Directed by Robert Ashton
Albion Theatre
June 7, 2024

Emily Baker, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

Many people probably know what it’s like to daydream of a different life, especially when your “real life” doesn’t turn out as you may have hoped. Albion Theatre’s latest production, Alan Ayckbourn’s Woman In Mind (December Bee) explores what happens to one woman when the daydreams start to take over, confusing the distinction between fantasy and reality. It’s an increasingly dark comedic look at issues including relationship problems, unrealized hopes and dreams, parental expectations, and the complex issue of mental health. On stage at the Kranzberg Arts Center as directed by Robert Ashton, this is a challenging, thought-provoking play that makes the most of its small performance area and excellent cast.

When the play opens, Susan (Emily Baker) is lying on the ground in her garden, slowly returning to consciousness after having stepped on a rake and hit on the head with its handle. It’s a small English town, near London, in the 1980’s, and Bill (Danny Brown), her doctor, is there but what he’s saying doesn’t make a lot of sense to Susan, even though the words sound almost intelligible. When she finally comes to and Bill is looking to call for an ambulance, Susan is soon joined by her loving husband Andy (Isaiah Di Lorenzo), fun-loving brother Tony (Joseph Garner), and devoted daughter Lucy (Sarah Vallo), who all express concern for Susan and wish to cheer her up, offering a look at a happy, wealthy family life. Soon, however, Bill returns and gets confused by Susan’s descriptions of her family, because he knows that her husband is a vicar named Gerald (Matt Hanify), and they live with Gerald’s widowed sister Muriel (Susan Wylie). Also, Susan doesn’t have a daughter, but a son named Rick (Ryan Lawson-Maeske), who has spent the last few years of his life estranged from his parents and living in a cult-like communal group.  The garden itself is also a lot smaller than Susan had initially led us to believe. As the story plays out, the realities–Susan’s imagined “ideal” family and her real, complicated one–start to become more blurred together and confused, revealing the issues in Susan’s family relationships and eventually spiraling out of control in the most ridiculous ways. 

The blend of comic situations and serious implications is well fleshed-out in Ackbourn’s well-constructed, witty and characterful script. The cast is excellent, led by Baker in a tragicomic tour-de-force as the gradually unraveling Susan. The rest of the cast is also strong, with Hanify as the more staid Gerald and Di Lorenzo as the effusive, upper class Andy both making strong impressions as the wildly contrasting husbands. There are also impressive turns from Garner as the enthusiastic Tony; Wylie as Muriel, who is notable for her air of sadness and her insistent inability to cook; and Lawson-Maeske and Vallo as the very different offspring; the disenchanted Rick and the ever-devoted Lucy. Brown is also memorable in an increasingly influential role as Bill. The chemistry is especially strong and cohesive, with all the cast members playing off of one another well, especially when the real and imaginary start to become more and more mixed up, and elements of the real relatives start to show up in the fantasy family.

There’s a simple but well-realized set by Erik Kuhn that fills the performance space well and appropriately evokes a small English garden. Tracey Newcomb’s costumes are appropriately of the era and suit the characters well, with a whimsical flair as things start to get weirder in the story. There’s also excellent lighting by Michelle Zielinski and sound by Jacob Baxley.

With quirky, well-cast characters, a clever script, and thoughtful staging, this show is sure to provoke a lot of thought and conversation. Albion has established itself as one of the better small theatre companies in St. Louis, and Woman In Mind (December Bee) is another memorable example of its excellence. I’m looking forward to their next play later this year.

Emily Baker, Matt Hanify, Ryan Lawson-Maeske
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Woman In Mind (December Bee) at the Kranzberg Arts Center until June 23, 2024

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Albion’s “Molly Sweeney” is a Fascinating, Well-Cast Character Study

Posted in St Louis Theatre, tagged , , , , , on March 23, 2024| Leave a Comment »

Molly Sweeney
by Brian Friel
Directed by Robert Ashton
March 16, 2024

Paul Gutting, Maggie Wininger, CJ Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre’s latest production highlights the work of one of Ireland’s most celebrated modern playwrights. Brian Friel, known for Dancing at Lughnasa among other works, has experimented a bit with format for the sake of concentrating on character in the intriguing Molly Sweeney, which features three characters describing the same series of events, but without ever directly interacting. At Albion, in a riveting, deliberately paced production directed by Robert Ashton, these characters and the highly thought-provoking subject matter are brought to life with compelling depth and energy.

The play’s title character, Molly (Maggie Wininger) is an independent, optimistic woman in her early 40s who has been blind for most of her life, having lost her sight as a very young child; until she meets and marries Frank (CJ Langdon), an amiable and charming man who has spent his life pursuing one adventurous “cause” after another. The research-minded Frank becomes determined that Molly would be able to regain at least some of her sight through surgery. The surgeon they consult, Mr. Rice (Paul Gutting) is a once-celebrated professional who has experienced several personal setbacks. Upon being presented with Molly’s case, Rice sees an opportunity not only to help her, but also to possibly reinvigorate his career. All three characters tell the story after the fact, each from their own individual perspective. This structure allows the audience to examine the characters and the situation with a slightly heightened focus, adding some weight to the philosophical ideas and practical implications as we see them talk about the events both as ideas and as reality. Also, the fact that we never see the characters interact lends to the exercise of imagining how they would do so, allowing especially for examination of Molly’s and Frank’s marriage from a more detached perspective. 

While there is very little in the sense of “action” in this play, the performances of the talented cast members provide much in the way of drama, so that even though the play is talky, it’s never boring. The story is able to personalize weighty issues concerning the nature of perception–visual vs. tactile, and the effects of integrating these means of gaining information–through these vividly drawn characters. The actors here are more than up to that task, with Wininger’s Molly going through a credible transformation as she portrays her experiences and recollections of growing up, as well as the unexpectedly devastating effects of the operation. Langdon is  personable and energetic as Frank, and at once it’s easy to see why Molly would be attracted to him, while also seeing why they might not be such a good fit as a couple. Gutting, as Rice, is also excellent, with a somewhat “matter-of-fact” telling of his story while also keeping a compelling air of mystery.

The energy and flow of this play is driven by these three powerful performances, and the staging is paced well, with the setting and technical elements providing a suitable backdrop for the storytelling. The set by Eric Kuhn is simple and effective, aided by strong lighting by Eric Wennlund and sound by Ashton. Tracey Newcomb’s costumes fit the characters well, adding detail to their characterizations.

Molly Sweeney is a fascinating play, in structure, story, characters and philosophical concepts. It’s one of those plays than can leave viewers asking “what would I do?” It’s well worth a look, and a whole lot of thought. 

Maggie Wininger, Paul Gutting, CJ Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Molly Sweeney at the Kranzberg Performing Arts Center until March 31, 2024

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Albion’s Well-Cast “Mindgame” is a Twisty Psychological Thriller

Posted in St Louis Theatre, tagged , , , , , on October 24, 2023| Leave a Comment »

Mindgame
by Anthony Horowitz
Directed by Robert Ashton
Albion Theatre
October 20, 2023

Nick Freed, Chuck Winning
Photo by John Lamb
Albion Theatre

The latest production from  Albion Theatre, Mindgame has an appropriate title. Anthony Horowitz’s intense psychodrama–directed by Robert Ashton–is twisty, intense, and visceral, presenting quite a challenge for actors and directors. Albion meets that challenge in a strong, highly provocative production that’s sure to keep audiences thinking.

The story begins in the office at a hospital for the criminally insane. Styler is there making notes on his tape recorder. He’s hoping to meet with the director of the asylum, Dr. Farquhar–pronounced like “Far-ar” here, as the doctor insists when he arrives. Farquhar is mysterious and suspicious, seemingly not remembering a letter Styler sent requesting the meeting, and eventually being evasive and challenging when Styler reveals his desire to meet with one of the hospital’s infamous patients, a known serial killer. Soon, one of the hospital’s employees, Nurse Paisley, is brought into the story, seeming to be a reluctant participant in whatever Farquhar has planned. There isn’t much else I can say about this story without spoiling, but it involves a series of revelations, machinations, and psychological manipulations that threaten to–and sometimes do–veer into violence.

It’s a clever script, with well-drawn characters who have secrets of their own, and reveal themselves to be more than what they may seem at first, while offering a thought-provoking examination of various concepts including the treatment of mentally ill criminals, the public’s fascination with true crime–and particularly serial killers–and more. This frequently twisting plot and characters present a challenge for actors and directors. Director Ashton has paced the action well, and the excellent cast brings out all the rancor, occasional wry humor, and elevating sense of sheer terror that the script provides. Nick Freed as Styler is an effective protagonist, revealing a range of emotions, and motives over the course of the story, working well with Chuck Winning, who is also superb as the cunning, manipulating, and increasingly hostile Farquhar. Nicole Angeli rounds out the cast in a convincing turn as the mysterious Paisley, offering a convincing portrayal as the characters, and the story, continue to shift and evolve.

The look and atmosphere of this production are also well-done, with an effective, detailed set by technical director Erik Kuhn, who also serves as fight choreographer. There’s also excellent work from costume designer Tracey Newcomb, lighting designer Eric Wennlund, and sound designer Jacob Baxley. The technical aspects work together to help set and maintain the overall tense, confrontational drama that ensues.

Mindgame is certainly a disturbing story, no question. There’s some difficult subject matter here, and it’s not for all audiences, so anyone squeamish about depictions and descriptions of violence, torture, and murder probably will not want to see this show. Still, what is presented here is an exquisitely crafted thriller that is ideally cast and energetically staged. It’s a memorable, provocative production from Albion Theatre.

Chuck Winning, Nicole Angeli, Nick Freed
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Mindgame at the Kranzberg Arts Center until November 5, 2023

This review was originally published at kdhx.org

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Albion’s “Absent Friends” Features Incisive Comedy, Strong Cast

Posted in St Louis Theatre, tagged , , , , , on June 13, 2023| Leave a Comment »

Absent Friends
by Alan Ayckbourn
Directed by Robert Ashton
Albion Theatre 
June 9, 2023

Mike DePope, Jason Myers, Ben Ritchie, Nicole Angeli, Anna Langdon, Annalise Webb
Photo by John Lamb
Albion Theatre

Albion Theatre is continuing their latest season with a work by one the UK’s most prolific playwrights. Alan Ayckbourn’s Absent Friends is a comedy with dark undertones, examining the relationships among a group of friends in 1970s England. As directed by Albion’s artistic director Robert Ashton, it’s a precisely paced showcase for an impressive cast of local performers. 

The play follows the story of a group of old friends who are involved in several awkward situations, including suspicions of infidelity, as well as social aspirations, personal grief, and strains on longtime friendships, all handled with at least an attempt at the veneer of British politeness as Diana, played by Nicole Angeli, prepares for a tea party welcoming back visiting and grieving friend Colin, played by Ben Ritchie. Diana is married to Paul, a somewhat haughty successful businessman played by Jason Meyers, but she’s having doubts about his fidelity in the marriage, suspecting him of an affair with Annalise Webb’s somewhat frosty Evelyn, who is married to their friend John, played by Mike DePope. Diana’s friend Marge, who is played by Anna Langdon, tries to encourage Diana and question Evelyn, but soon the frequently restless John arrives and the awkward waiting begins. When Colin finally arrives, he’s eager to talk about his late fiancée Carol, whom none of the group had a chance to meet.  What ensues is an astute examination of the state of the various relationships, including marriages, friendships, and business connections, as well as a look at ambition, mortality, and social obligations in British society. It’s all so deliberately plotted and paced, with excellent use of long pauses in dialogue, unspoken reactions, and the occasional well-placed vocal outburst. 

The cast is well-chosen, led by Angeli in an expertly measured performance as the suspicious, gradually unraveling Diana. Ritchie is also memorable as the grieving but affably intrusive Colin. Meyers, as the upwardly mobile, emotionally clueless Paul, is also strong, as is Langdon as the somewhat Pollyanna-ish Marge. DePope, as the always-moving, insecure John, and Webb as the snarky Evelyn are also excellent. Ensemble chemistry is essential in a story like this, as the various interactions and personality differences are the source of much of the comedy, as well as the tension. It’s all paced with precision by director Ashton, and the players work together well.

The costumes, by Tracey Newcomb, are notable highlight on the technical side, with much attention paid to the details of 1970s fashion, and the characters are outfitted ideally according to their personalities. Erik Kuhn’s set is also impressive in its period style and décor. The lighting by Michelle Zielinski, props by Gwynneth Rausch, and sound by Jacob Baxley also contribute well to the overall atmosphere of the story.

Absent Friends is classified as a comedy, and there’s a lot of humor here, but there’s  a fair amount of drama simmering below the surface, as well, and occasionally emerging in an explosive manner. This is a well-crafted show set in a specific time and place, although it features several timeless themes. It’s another intriguing production from this still relatively new theatre company.

Nicole Angeli, Ben Ritchie, Annalise Webb
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Absent Friends at the Kranzberg Arts Center until June 25, 2023

This review was originally published at KDHX.org

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Albion Theatre Hosts an Intense, Deliberately Unsettling “Birthday Party”

Posted in St Louis Theatre, tagged , , , , , on March 15, 2023| Leave a Comment »

The Birthday Party
by Harold Pinter
Directed by Suki Peters
Albion Theatre
March 10, 2023

Teresa Doggett, Ted Drury, Nick Freed
Photo by John Lamb
Albion Theatre

The latest production from Albion Theatre is a well-known classic of British theatre. The Birthday Party, by celebrated playwright Harold Pinter, is intriguing, memorable, challenging, and deliberately unsettling and disturbing. At Albion, director Suki Peters has staged a thoughtful, impeccably cast production that speaks to its own time as well our own, and is sure to get audiences thinking. 

The play is often mentioned as a prime example of the mid-20th Century Theatre of the Absurd genre, as well as being labeled a “Comedy of Menace”. Both of these descriptors are apt, in that there is a message here, but it’s often not a strictly “coherent” one, and fear, uncertainty, and menace are major features in the play, setting a sort of questioning tone and not providing much in the way of answers. The way it’s staged at Albion focuses much on the building tension and sense of nebulous dread, as well as the mannerisms and particularities of the characters, who are at once unique individuals and recognizable “types”. 

The setup is fairly simple, as older English couple Petey (Robert Ashton) and Meg (Teresa Doggett) have breakfast together in their simple house in a small seaside town. They engage  in a rote, mostly empty discussion of the meal, the day, and their boarder Stanley (Ted Drury), an out-of work pianist who lives out his purposeless days bickering, and occasionally flirting, with Meg, and avoiding people in the outside world. It also may or may not be his birthday, and Meg prepares to celebrate, as neighbor Lulu (Summer Baer) delivers an odd present, and Stanley appears to be unsettled by the news that two men from out of town have asked Petey for a room for the night, because the place may or may not be a boarding house. Soon, the strangers arrive, and they appear to be on a mission involving Stanley, who seems to recognize Goldberg (Chuck Winning), who appears to be in charge, and clearly has unpleasant plans for Stanley, even though we’re never told exactly what those plans are, or what Stanley has done to precipitate the interrogation and menacing that ensues. Goldberg is accompanied a stoic, matter-of-fact Irish assistant, McCann (Nick Freed), and the two proceed to terrorize Stanley while acceding to Meg’s wish to celebrate his “birthday”, insisting on attending the party, which is eventful, to say the least, and not a little disturbing.

Although the “plot”, for what it is, is fairly basic, it’s the characterization and the tone that make this show, with moments of comedy–sometimes broad, sometimes cynical–are interspersed with a more threatening atmosphere. The players here are all well-chosen, and although the accents are mixed bag–ranging from essentially flawless (Ashton and Doggett, who are both originally from the UK, and Freed, who sounds authentically Irish), to “good enough” (Drury and Baer), to “barely there” (Winning)–the characterizations are consistent and excellent. Drury makes a credible, sullen Stanley, adding to the tension and mood with his body language as well as his speaking moments, and he plays especially well in scenes with the superb Doggett as the well-meaning and over-intrusive Meg. Doggett’s comic timing is especially strong, as is Winning’s. Winning and Freed make a suitably threatening pair, and Freed manages to bring layers of depth to his fairly simply presented character. Ashton and Baer are also memorable, making the most of their fairly limited stage time. It’s a strong, cohesive ensemble, handling the overall tone and pacing well. 

The technical aspects of the production are also excellent. The simple unit set by Brad Slavik, along with the costumes by Tracey Newcomb and props by Gwynneth Rausch, establishes the time and place with suitable accuracy while also project a drab “ordinariness” that works especially well for this show. Anthony Anselmo’s lighting is used to striking effect throughout, especially in the birthday party sequences, and the sound by Michael Musgrave-Perkins is also effective. Ryan Lawson-Maeske’s fight-chorography lends to the menacing tone of the play with credible results, as well. 

The Birthday Party, as with other works by Pinter, is a play that is open to interpretation in various ways, and there have been a few differing theories about what is really happening here. Regardless of what it “really” means, though, it’s the feeling of uncertainty and looming threat that dominates, along with a cynical sense of purposelessness and meaningless mundanity in everyday life. These are themes that still resonate now, and this staging highlights them with clarity and intensity. It’s a remarkable, highly memorable production. 

Robert Ashton, Chuck Winning, Nick Freed, Ted Drury
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting The Birthday Party at the Kranzberg Arts Center until March 26, 2023

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Albion Theatre Debuts with Well-Cast, Deliberately Paced “Heroes”

Posted in St Louis Theatre, tagged , , , , , , on September 26, 2022| Leave a Comment »

Heroes
by Gérald Sibleyras, translated by Tom Stoppard
Directed by Robert Ashton
Albion Theatre
September 25, 2022

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

There’s a new theatre company in town, and its first play is an intriguing one. Albion Theatre is focused on works from the British Isles, and occasionally Ireland. Their inaugural production, Heroes, is actually French in origin, but this English translation by one of the UK’s most celebrated playwrights, Tom Stoppard, debuted in a critically-acclaimed run in London’s West End.  As Albion’s first entry in its repertoire, it makes a quiet but strong impression, featuring excellent performances and thoughtful but somewhat slower pacing.

Heroes is classed as a comedy, but it’s not a laugh-a-minute type of show. It’s a more gentle, thoughtful piece, focused more on developing the characters than just getting laughs. It’s also deliberately paced to the point that it forces the audience to pay attention, and can drag in places if not well-paced. For the most part, this production is paced just right. The story follows a trio of French World War I veterans who are living in a retirement home for vets in 1959. They have each been there for a different length of time–Henri (David Wassilak), who lost part of his leg in the war and walks with a can, has been there 25 years; Phillipe, who suffers from period fainting spells due to shrapnel lodged in his head, has been there 10 years; and the semi-reclusive Gustave (Will Shaw), has been there six months, although he seems to see himself as something of the ringleader of the group. The three spend their days on a terrace of the home, passing the time sharing their opinions of the various residents of the home and the nuns who work there, reminiscing and bragging about past romantic exploits, as well as family difficulties, and imagining elaborate trips abroad, even going so far as to plan an escape to see a grove of poplar trees in which Gustave is fascinated. They also share an odd connection to a stone dog sculpture that sits on the terrace, often acting as if it is a real animal. There isn’t much in the way of plot–it’s more of a character study and a meditation on aging. loneliness, and the need for companionship, as well as the changes in society over time and attitudes toward the aging and veterans in particular. It’s clearly a comedy, with a humor that is sometimes subtle, sometimes mildly risqué, and sometimes with hints of darkness, as these three men know their time is limited and are struggling to maintain meaning in their lives. 

The characters are well-drawn and the dialogue is well-constructed. The slower tone of this play requires engaging actors to keep the pace, and this production has found excellent performers. All three work together well, and the interplay between the characters is what makes the story here, with all three inhabiting their characters fully and portraying their quirks, annoyances, and endearing qualities with clarity and intelligence. Shaw as the somewhat bossy but insecure Gustave has memorable presence, and Wassilak as the more practical-minded Henri is also excellent, as is Di Lorenzo as the physically fragile but emotionally energetic Phillipe. All three lend a compelling air to the proceedings, as do their interactions with the one silent cast member, the stone dog statue, credited in the program as “Gérald Le Chien”. 

The dog also contributes to the interest of the play in a different way, as he is frequently being moved around between scenes by assistant director/stage manager Gwynneth Rausch with a hand truck–I wonder how much he weighs. Trying to guess where the dog will end up next contributes to the comic tone of the show. The other technical qualities are also strong, including Brad Slavik’s simple but realistic unit set, Marjorie Williamson’s expert set painting, Nathan Schroeder’s excellent lighting, Tracey Newcombe’s character-appropriate costumes, and Robin Weatherall’s proficient sound design. The overall atmosphere of time and place is well-maintained, working well with the mood and style of the play. 

Overall, while I think Heroes is something of a subdued choice for a debut production from a new theatre company, Albion Theatre has made a strong impression, especially considering the strength of the cast. It’s a thought-provoking show with some truly funny moments, as well as moments of poignancy. I’m looking forward to seeing more productions from this promising new company.

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Heroes at the Kranzberg Black Box Theatre until October 9, 2022

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