Posts Tagged ‘annamaria pileggi’

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

Posted in St Louis Theatre, tagged , , , , , on April 14, 2025| Leave a Comment »

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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STLAS’s Intense “The Whale” Showcases Relationships, Strong Acting

Posted in St Louis Theatre, tagged , , , , , , on April 11, 2024| Leave a Comment »

The Whale
by Samuel D. Hunter
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
April 6, 2024

Nadja Kapetanovich, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

Samuel D. Hunter’s The Whale is probably best known for its recent film adaptation starring Brendan Fraser. In fact, although I haven’t seen the film, I didn’t even know it was a play until St. Louis Actors’ Studio announced its current season. Their production, directed by Annamaria Pileggi, is a thoughtfully staged, intensely emotional relationship drama that serves as a showcase for an excellent cast of local performers. 

This play is the story of Charlie, a lonely, unhealthy, and overweight man who teaches online writing classes from his small apartment, which he never seems to leave. He’s cared for by his friend Liz, who is a nurse and also has another connection to him that will be revealed in the story. Liz urges Charlie to take better care of himself and to go to the hospital, but she also brings him unhealthy food to eat. As Charlie’s health continues to deteriorate, he seeks comfort in an old essay about Moby-Dick and in conversations with a young Mormon missionary, Elder Thomas, who has happened by one evening, and who Charlie thinks can help him find answers concerning a personal tragedy. Charlie also seeks out his teenage daughter, Ellie, who hasn’t seen her father since she was two when Charlie came out as gay and began a relationship with his late partner, Alan, ending his marriage to Ellie’s mother, Mary. Ellie seems to be angry at everything and claims to hate everyone, but Charlie wants to get to know her in hopes that he can somehow help her have a better life. There are many complications, as emotions flare and secrets are revealed, as volatile relationships are explored in a quest for some kind of hope in the midst of regret and despair.

The personal relationships are intensely believable, driven by William Roth’s heartfelt performance as Charlie, and supported by the equally strong Colleen Backer as the fiercely protective Liz and Nadja Kapetanovich as the surly Ellie. These are the key relationships here, and all three actors give powerfully emotional performances. There is also excellent work from Thomas Patrick Riley as the friendly but guarded Elder Thomas, and Lizi Watt as the hard-drinking, emotionally wounded Mary. There’s a lot of emotional hurt going on here, with sadness and anger at the forefront but with a lingering, persistent suggestion of hope. 

The detailed set and moody lighting design by Patrick Huber add to the overall melancholy tone of the story. There has been some criticism of this story as potentially exploitative, considering the use of padding of a thinner actor to look overweight, but the thoughtful direction here doesn’t seem mocking or belittling to me, and Teresa Doggett’s work on the costumes and prosthetics comes across as realistic, and even understated.  There’s also strong work from sound designer Kristi Gunther and props designer Emma Glose.

The Whale is intense, and acted with impressive depth by St. Louis Actors’ Studio’s well-chosen cast. It works especially well in the intimate setting of the company’s Gaslight Theater. There’s a lot to process in this play, concerning relationships, literature, self-expression, religious influence, and more. It’s a profoundly affecting story.

Nadja Kapentanovich, Thomas Patrick Riley, Lizi Watt, Colleen Backer, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Whale at the Gaslight Theater until April 21, 2024

This review was originally published at kdhx.org

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STLAS’s “Beach House” is An Intriguing, Well-Cast Look at Memorable Characters, Situations

Posted in St Louis Theatre, tagged , , , , , on October 12, 2023| Leave a Comment »

Dr. Ride’s American Beach House
by Liza Birkenmeier
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
October 8, 2023

Lizi Watt, RN Healey, Lindsay Brill, Bridgette Bassa
Photo: STLAS

The latest production from St. Louis Actors’ studio has a few St. Louis connections. Playwright Liza Birkenmeier is from here (although she is now based in New York), and the play is set in South City in 1983. Dr. Ride’s American Beach House is an intriguing character study and exploration of various issues relating to women’s roles in society as well as relationships, ambitions, and more. It has a small, excellent cast, and impressive production values that make the show look and feel very “St. Louis”, as well.

The story takes place on the roof of a historic home in South City that’s something of a tourist attraction. Harriet (Lindsay Brill) lives there, and is hosting her regular “book club” meeting with longtime close friend Matilda (Bridgette Bossa), who has invited a recent acquaintance, Meg (RN Healey) to the gathering, to Harriet’s initial annoyance. Harriet is also preoccupied with an upcoming event–the first space flight of Dr. Sally Ride, who would become the first American woman in space the next morning. The structure of the play is more character-focused, because there isn’t really much of a plot. It’s just four women–including Harriet’s landlady Norma (Lizi Watt), who makes a few memorable appearances–hanging out on the roof, drinking beer, listening to the radio,  and expressing their thoughts on the world around them. They share their thoughts about their lives and their goals, and Harriet and Matilda are questioned about the nature and intensity of their relationship, as Harriet begins to share stories about recent experiences that make Matilda somewhat uncomfortable, and the brash Meg encourages Harriet to do what she wants and discover who she wants to be. It’s a very credible interaction and seems authentically “St. Louisy”, with additional information about Sally Ride, NASA, and the space program included for good measure, and a bit of a twist that shifts the perspective near the end, adding a degree of illumination to the established characters and relationships.

The dialogue is credible and flows in a believable way, and the characters are memorable and well-drawn. There is a fair degree of subtext here, and the performers handle it well, along with the overall “dramedy” tone of the show. All four performers are strong, working well together in a cohesive sense of ensemble chemistry. Brill and Bassa are strong in the central roles, and Healey adds much in the way of attitude and perspective. Watt is also excellent in her mostly comic turn as Norma, who strikes me as a character who can easily be overplayed, but thankfully isn’t here. The mix of characters and the well-pitched performances add much to the overall effectiveness of this story.

Technically, the show is especially impressive, as Patrick Huber’s detailed set seriously looks like he took an old brick South City home, cut the top floor off, and put it onstage at the Gaslight Theater. It’s amazingly authentic looking, with some nice period set decoration and props by Emma Glose to add to the 1983 vibe. There are also well-suited costumes by Abby Pastorello, excellent lighting by Kristi Gunther and sound by Glose. 

Dr. Ride’s American Beach House is a vividly realized “slice-of-life” look at a particular moment in history as experienced by “ordinary” St. Louisans. The language and themes are decidedly adult, so this isn’t for all ages, but it’s an intriguing story that feels like a snapshot in time. It’s a good start to the season for St. Louis Actors’ Studio.

Lindsay Brill, Bridgette Bassa
Photo: STLAS

St. Louis Actors’ Studio is presenting Dr. Ride’s American Beach House at the Gaslight Theater until October 22, 2023

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St. Louis Actors’ Studio Stages a Poignant, Expertly Measured “Vanya”

Posted in St Louis Theatre, tagged , , , on February 19, 2023| Leave a Comment »

Uncle Vanya
by Anton Chekhov
Adapted by Neil LaBute
Directed By Annamaria Pileggi

John Pierson
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is currently staging a production of Chekhov’s classic Uncle Vanya, in an adaptation by Neil LaBute. This play is famous for a reason, considering its timeless themes and memorable characters. On stage at STLAS’s Gaslight Theater, the play is given a remarkably measured, expertly acted staging that brings out the play’s poignancy and emotion.

The story, set in late 19th Century Russia, follows a group of characters whose lives aren’t where they would want them to be. Vanya (John Pierson) and his niece Sonya (Bryn McLaughlin) manage a country estate that belonged to Sonya’s late mother. Her father, the retired professor Serebryakov (Greg Johnston) has been staying there recently along with his young second wife Yelena (Jennelle Gilreath Owens). While the ailing professor bemoans his lost youth, Yelena has attracted the attentions of both Vanya and local doctor Astrov (Michael James Reed). The story that ensues involves unrequited love, regrets of lost potential, flirtations, resentments, and crushing loneliness, as almost everyone seems to want something they can’t have. 

It’s an ensemble play, with most of the action revolving around Vanya, Sonya, Astrov, and Yelena, but also featuring supporting characters in the form of the professor, Vanya’s mother Maria (Jan Meyer), family nurse Marina (Eleanor Mullin), and family friend Telegin (Michael Musgrave-Perkins), who also lives on the estate. The acting is universally impressive, well-paced by director Pileggi so that every emotional moment is earned, and nobody goes over the top. Pierson is excellent as the regretful, lonely Vanya, and McLaughlin’s pining (after Astrov) but insistently hopeful Sonya is also a standout. There are also strong performances from Owens as the conflicted Yelena and Reed as the lovestruck Astrov. Everyone is strong, with excellent moments all around and cohesive ensemble chemistry that helps carry this long play and make every moment fascinating. 

Technically, this production is also remarkable, in using the Gaslight Theater stage in a way the emphasizes the confined, closed-in feeling of some of the characters. The  meticulously crafted set by Patrick Huber, who also designed the lighting, suits the mood and era appropriately, as do Teresa Doggett’s excellent costumes. There’s also good use of sound and music in the transitions, with impressive work by sound designer Pileggi. 

Uncle Vanya has stood the test of time for its relatable themes, characters, and situations, even though we may be over a century removed from its setting. Astrov has some lines that mention what people may think of them a hundred years in the future, and these moments made me think of how this play has endured through the years, being staged in many places and venues around the world. At St. Louis Actors’ Studio, this play is given a remarkable production more than worthy of the play’s reputation. 

Jennelle Gilreath Owens, Michael James Reed, Bryn McLaughlin
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Uncle Vanya at the Gaslight Theater until  March 5, 2023

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Union Avenue Opera’s “Night Music” is Witty, Emotional, Beautifully Sung

Posted in St Louis Theatre, tagged , , , , , , , on August 20, 2022| Leave a Comment »

A Little Night Music
Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
Directed by Annamaria Pileggi
Choreographed by Christine Knoblauch-O’Neal
Union Avenue Opera
August 19, 2022

Debby Lennon, Peter Kendall Clark
Photo by Dan Donovan
Union Avenue Opera

A Little Night Music is a show I had heard the score to but hadn’t seen onstage, and by the end of October I hope to have seen it twice, as two local companies have chosen to produce it this year. The first production by Union Avenue Opera, which as an opera company focuses much on the singing and orchestra. And it does sound wonderful, with gorgeous vocals, and a full, lush-sounding orchestra, although in addition, it is also superbly acted and directed, with a stellar cast including several St. Louis-based performers.

A lot of companies are doing Stephen Sondheim shows this year, in memory of the legendary composer/lyricist who died late last year at the age of 91. Sondheim is regarded by many, including me, as one of the true geniuses of musical theatre. A Little Night Music is one of his more operatic-sounding works, which makes it ideal for a company like Union Avenue Opera. Based on the 1955 Ingmar Bergman film Smiles of a Summer Night, the show has a very “Old World European” feel, taking place in Sweden at the turn of the 20th Century. It explores issues of romance, repression, and regret, as well as challenging the attitudes and conventions of upper class society. The main characters are middle-aged lawyer Fredrik Egerman (Peter Kendall Clark), and well-known stage actress Desiree Armfeldt (Debby Lennon), who had been romantically involved years before but had lost touch until Fredrik brings his new, much younger wife Anne (Brooklyn Snow) to a play in which Desiree is appearing.  Anne is suspicious of Desiree because Fredrik, who obviously still carries a torch for his old flame, is evasive about their relationship. Also figuring into the story are Desiree’s aging mother Madame Armfeldt (Teresa Doggett), who is still nostalgic about the romantic adventures in her own past, and Desiree’s teenage daughter Fredrika (Arielle Pedersen), who lives with her grandmother while Desiree tours. There’s also Fredrik’s son from his first marriage, Henrik (James Stevens), who is studying to join the clergy but struggles to live up to his own ideals, and who harbors thinly-veiled feelings for Anne. Also figuring into the story are Desiree’s latest paramour, the self-absorbed and not-too-bright Count Carl-Magnus Malcom (Eric J. McConnell), and his neglected and jealous wife, Charlotte (Leann Schuering); and Anne’s maid, the bold and amorously adventurous Petra (Amy Maude Helfer). A somewhat hastily arranged weekend at Madame Armfeldt’s villa brings all these characters and their conflicting desires, jealousies, and conflicts together, resulting in a great deal of relational chaos, a measure of witty banter, and much reflection and commentary by way of song.

It’s a fascinating story, especially since a lot of the characters aren’t exactly likable, although all are made interesting and there isn’t a dull moment here, even though there isn’t much in the way of “action”, traditionally speaking. It’s a lot of talking, singing, and reflecting. There’s also a clever framework involving a Quintet (Joel Rogler, Gina Malone, Grace Yukiko Fisher, Philip Touchette, and Sarah Price) who serve as something of a Greek Chorus, commenting on the proceedings and characters as the story plays out. Many of the relationships are shallow and even silly, but I think that’s the point of this story, and there are a lot of selfish motives and petty squabbling, but it’s all done with so much wit, emotion, and energy, as well as well-paced comic timing, that it’s fascinating and often hilarious to watch, and the ultimate reflections as the story starts to wind down and gets to the show’s most well-know song “Send In the Clowns”, are truly poignant and soul-bearing. That song, incidentally, makes a whole lot more sense in the context of the show than it does sung by itself.  

The characters are made all the more watchable by the terrific cast that has been assembled here. Debby Lennon, who is known locally in both musical theatre and opera, is excellent as Desiree, projecting that “stage star” presence with ease, as well as communicating the character’s vulnerability and sense of regret. She has has a wonderful voice, as usual, and her scenes with the equally excellent, rich-voiced Clark are a highlight of the show. There are also strong performances from Stevens as the idealistic, oh-so-earnest Henrik, with a strong tenor voice; excellent soprano Snow as the conflicted Anne; along with particularly strong comic turns by McConnell as the boastful, possessive Carl-Magnus, and Schuering as the jealous, exasperated Charlotte. The Quintet is also especially strong, and the biggest standout is Doggett in a delightful, hilarious performance as the aging, nostalgic Madame Armfeldt. There are strong performances all around, and the singing is especially stellar, as should probably be expected for an opera company. The wonderful singing is accompanied by an equally wonderful, rich-sounding orchestra conducted by Scott Schoonover, bringing the overall mood and atmosphere of the piece to life in a memorable way.

Technically, the set designed by C. Otis Sweezey isn’t as elaborate as you might expect from a traditional theatre company, but it’s effective all the same, with mood-setting backdrops and furniture being brought on and off by a highly efficient stage crew. The costumes by Doggett are sumptuously appointed and true to the period, suiting the characters especially well. There’s also excellent lighting by Patrick Huber that helps to set and maintain the tone and mood of the story. Another aspect of the production that’s more specific to opera companies is that “supertitles” (designed by Philip Touchette) are projected on screens at either side of the stage, displaying the script and lyrics as the show goes on, which is especially helpful in this show since there are several moments in which several characters are singing different lyrics at the same time. 

If you’ve never been to Union Avenue Opera, this is a good show to introduce you to this excellent company. Opera can seem intimidating to the uninitiated, but musical theatre is generally seen as a little more accessible. This production of A Little Night Music has a lot of the best qualities of both art forms, with top-quality singing, acting, and orchestra, as well as being a compelling story with much to think about in terms of relationships and the varying, flawed people who engage in them.  It’s a remarkable production.

James Stevens, Leann Schuering, Eric J. McConnell, Jordan Wolk, Teresa Doggett
Photo by Dan Donovan
Union Avenue Opera

Union Avenue Opera is presenting A Little Night Music at Union Avenue Christian Church until August 27, 2022

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World Premiere “Comfort” at STLAS Features Strong Acting, Characterization

Posted in St Louis Theatre, tagged , , , , , on December 8, 2021| Leave a Comment »

Comfort
by Neil LaBute
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
December 3, 2021

Spencer Sickmann, Kari Ely
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio’s newest production isn’t just a St. Louis premiere–it’s a World Premiere, by playwright Neil LaBute, with whom the company has had an ongoing working relationship. They’ve produced several of his plays before, mostly as part of their annual LaBute New Theater Festival. The new play, Comfort, is a two-character drama examining a strained mother-son relationship, while exploring and challenging the character and choices of the mother in particular. It’s a superbly cast and acted play featuring two excellent local performers, and it works especially well as a showcase for their impressive talents.

The mother character, Iris (Kari Ely), is the main focus of the play, and the real catalyst for its action, even if what she did to set the play’s action in motion happened offstage and years before the events depicted in the play. Iris is a celebrated, multi-award-winning author who lives alone and cherishes the time she spends by herself, as well as the accolades she has received–and hopes to receive, as she has apparently recently been subject to some Nobel Prize buzz. Cal (Spencer Sickmann), her adult son, was primarily raised by his father–Iris’s recently deceased ex-husband–since the couple split up when Cal was 10 years old. The action begins when Cal breaks into Iris’s house while his mother is out, ostensibly to retrieve some photo albums that feature old family pictures from before the divorce, but we find out when Iris inevitably comes home and discovers him that Cal has an underlying motive that he doesn’t initially admit. What ensues is a series of scenes and events that work to challenge Iris’s choices as a writer, as a mother, and as a person, as well as reveal some of the reasons behind her estranged son’s resentment toward her.

As one who finds LaBute’s work somewhat hit-or-miss, I have been curious to see what this new work would be like. I have to say now that in my mind, this one is a lot more “hit” than “miss”, although it does contain some elements that I that I think need some editing or reworking, such as some repetitious situations and dialogue and some “revelations” that are too obvious, as well as some points that could be elaborated more. I also think the character of Cal isn’t as well-drawn as he could have been, although Sickmann does a commendable job of making him interesting. Both he and Ely make the most of their roles, and their dynamic interplay is the main source of the drama here, as at first it’s not entirely clear what Cal wants, and the revelations throughout the play are introduced gradually. Iris is a complex character with many levels of depth, and Ely does a fantastic job of portraying all of these levels with clarity and, when needed, startling intensity. Iris is also not especially likable, although Ely’s performance makes her fascinating to watch as the story unfolds and her interactions with Sickmann’s Cal become more emotionally charged.

As for the staging, director Anamaria Pileggi makes the most of the small stage here, and Patrick Huber’s thoroughly detailed set. The mood is helped along through means of Huber’s excellent lighting as well, and costume designer Teresa Doggett has outfitted the characters well. I’m continually impressed by how STLAS is able to use their relatively small venue to the best of its potential, and this show is no exception.

Overall, Comfort is a worthwhile theatrical experience. It’s not a perfect play, but it makes an excellent showcase for two superb performances. With its complex relationship dynamic dealing with academic, social, and personal issues, it’s an intense drama that’s sure to make audiences think.

Spencer Sickmann, Kari Ely
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Comfort at the Gaslight Theater until December 3, 2021

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STLAS’s Superbly Cast “Annapurna” Scales a Mountain of Emotion

Posted in St Louis Theatre, tagged , , , , , on February 18, 2020| Leave a Comment »

Annapurna
by Sharr White
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
February 15, 2020

John Pierson, Laurie McConnell
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio proves true to its name with its latest production, Sharr White’s Annapurna. The next in the company’s season of two-character plays, the highlight here is on the acting, and it is superb. With two excellent local performers headlining, this proves to be a compelling and memorable tale of relationship, regret, and a wide range of emotions, deliberately and expertly paced.

The structure of this play is especially compelling, as we see a whole journey taking place on stage, from first (re-) meeting through to a series of well built-up revelations. The first words of play are “holy crap!” They are uttered by reclusive writer Ulysses (John Pierson) upon the sudden arrival of his ex-wife Emma (Laurie McConnell), who abruptly left him 20 years before along with their then 5-year-old son. The beginning is understandably volatile, as a mix of pent-up emotions and a clutter of stories and conflicting memories emerge and, gradually and naturally, the truth comes out. The combination of short scenes punctuated by blackouts along with longer periods in which we see these two characters getting to know one another again is particularly effective, as are the stellar portrayals here. There’s a story here of relationship, regret, and “what ifs”, as well as buried secrets and the hope for understanding, if not reconciliation. It’s a fascinating show, focusing on these two multi-layered characters and their ever evolving relationship, as they rely on old patterns and occasionally try to establish a new one. The title comes from the mountain of the same name, and idea of climbing such a difficult peak serves as an ideal metaphor for the relational journey depicted in this play.

The range of emotions covered here is great, as is the credible build-up of these feelings and the truths that are uncovered in this relationship. It’s something of a master class in acting from both Pierson as the guarded, sometimes volatile Ulysses, and McConnell as Emma, who is determined, conflicted, and secretive in her own way. The interplay between these two immensely talented performers forms the heart of this play, and their chemistry is palpable and stunning. I’m especially impressed by how subtle some of the emotions and thought processes are conveyed, especially by McConnell as Emma listens to Ulysses’s stories and tries to decide what to believe and how much to tell him. The pacing is just right, as well, letting the audience witness the developments and the rawness of the emotion without pushing it too far.

As for the production values, they are excellent, as well, making excellent use of the small stage at STLAS’s Gaslight Theater and bringing Ulysses’s messy old trailer to life by means of Patrick Huber’s impressively detailed set. Huber and Steven J. Miller also provide effective evocative lighting, and there’s also strong sound design by Jeff Roberts. Kayla Dressman’s costumes fit well for the characters and the tone of the play, and Jenny Smith’s props design also works well.

This can be a tough play in terms of subject matter, touching on alcoholism, domestic violence, and more. It’s full of regret and loss, but also there are moments of hope. It’s a worthwhile artistic journey, with highly commendable performances from its two leads. Annapurna is quite a journey, and the performances especially make it more than worthwhile.

John Pierson, Laurie McConnell
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Annapurna at the Gaslight Theater until March 1, 2020

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Thoughtful, Thought-Provoking “Tribes” at STLAS Features a Superb Cast

Posted in St Louis Theatre, tagged , , , , , on December 12, 2018| Leave a Comment »

Tribes
by Nina Raine
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
December 2, 2018

Miles Barbee, Bridgette Bassa
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio’s 12th season has been titled “Blood is Thicker Than Water”. I’m assuming that by that title, the plays will be examining the concept of family in one way or another. Their latest production, British playwright Nina Raine’s Tribes, looks at the concept of family from various different angles–from literal family to “chosen family” and what those concepts mean to a people who can become caught between two or more distinct groups. It’s an incisive, fascinating script filled with well-drawn characters, and STLAS has brough them to life in this intense, thoughtful and profound production.

The story, set in England, introduces us to a close but occasionally volatile family unit. The parents, professor Christopher (Greg Johnston) and aspiring novelist Beth (Elizabeth Ann Townsend) live with their three adult children–aspiring opera singer Ruth (Hailey Medrano), insecure academic Daniel (Ryan Lawson-Maeske), and Billy (Miles Barbee), who as the only deaf member of the family, has grown up in his hearing family’s world, learning to read lips and, at Christopher’s insistence, never learning sign language. The family is often loud and opinionated, with Billy frequently having to ask them to explain what they’re talking about. Eventually, Billy meets Sylvia (Bridgette Bassa) at a party.. Having grown up as a hearing child of deaf parents, Sylvia is fluent in sign language, and she is able to introduce Billy to the deaf community as she reveals that she herself is gradually going deaf. As the relationship between Billy and Sylvia grows, Syliva is introduced to Billy’s family and Billy begins to discover a new world of possibilities around him just as Sylvia is growing increasingly confused about what the world will be like for her, as Billy’s parents struggle with their son’s increasing independence, and as his siblings deal with a combination of jealousy and dependence. The dynamics are complicated to describe, although they are extremely well played-out, with various implications brought up as natural outgrowths of the characters, their relationships, and where the story takes them. It’s a fascinating play, intricately scripted, with moments of humor and poignant drama blended into an increasingly intense, riveting theatrical experience.

The family dynamic here is extremely well portrayed by an excellent cast. Barbee, who like his character is deaf, plays Billy with strength, sensitivity, and eagerness as Billy discovers more about the world around him, explores the possibilities, and challenges his family’s restrictions and perceptions of him. His chemistry with the equally excellent Bassa is strong, and Bassa is also particularly effective as a young woman who is essentially a part of two worlds but questioning how she fits in to both of them. Lawson-Maeske, as the insecure, struggling Daniel, is also impressive, particularly in his scenes with Barbee, the brother he alternately resents and desperately needs. There are also strong performances from Medrano as the competitive Ruth, Johnston as the belligerent, highly opinionated and controlling Christopher, and Townsend as the conflicted Beth, who seems to genuinely want the best for her children but struggles to understand what that is. It’s a highly emotional play, and thoroughly believable in its relationships and in its use of British Sign Language (BSL) on stage, with American Sign Language (ASL) interpreters and supertitles helping to translate.

The world of these characters is brought to life believably in director Annamaria Pileggi’s thoughtful staging and the technical aspects of the play. Patrick Huber’s vividly realized set, video design, and striking lighting make the most of the small stage space at STLAS’s Gaslight Theatre. There’s also impressive work from costume designer Megan Harshaw, props designer Jess Stamper, sound designer Jeff Roberts, and dialect coach Pileggi. The accents aren’t universally perfect, but they’re good enough as to not be distracting from the action.

This is a stunning, highly thought-provoking play that covers so many issues in terms of identity, family, and belonging that it’s almost too much to describe. The best thing to do is to see it for yourself, which I highly recommend. Tribes is another impressive production from St. Louis Actors’ Studio.

Cast of Tribes
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Tribes at the Gaslight Theatre until December 16, 2018

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“Blackbird” at STLAS is Disturbing, Intense

Posted in St Louis Theatre, tagged , , , , , on February 23, 2018| Leave a Comment »

Blackbird
by David Harrower
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
February 17, 2018

Elizabeth Berkenmeier, John Pierson
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is known for producing challenging plays, and their latest offering is certainly in that vein. Just reading the plot description for Blackbird gives me the creeps, and the program has a warning regarding its subject matter. This is not an easy play to watch. Still, as directed by Annamaria Pileggi and cast with excellent local performers, this difficult but well-written play makes a thought-provoking impression.

The play begins in the midst of a confrontation. In the stark, litter-strewn breakroom of the company where he works, Ray (John Pierson), a seemingly average office worker, has just seen someone he didn’t think he would ever see again. Una (Elizabeth Birkenmeier), hasn’t seen Ray for 15 years, but the last time they saw each other, he was 40 and she was 12. The nature of their earlier relationship is made clear fairly quickly, as is the fact that Ray served time for sexual relations with a minor. Since his release from prison, Ray has changed his name and started a new life, hoping to never be reminded of his past again, but Una has seen a picture of him with co-workers in a magazine, so she has tracked him down, and this confrontation ensues. What happens is understandably uncomfortable to watch, especially since the nature of their prior relationship is described in detail. The emotions are also on clear display, as both Ray and Una process their feelings about what happened, and about each other. I can’t really describe much else because it would give too much away, but essentially the play is one long, intense conversation. It’s a well-written, believable encounter, but that doesn’t make it any less disturbing, and to a degree, I wonder why the playwright would choose to explore such a relationship in such detail, although it does provide a showcase for the excellent actors here, and I suppose it shows the far-reaching impact of abuse in a direct, confrontational way.

The performances here are extremely strong. The extremely conflicted dynamic between Pierson and Birkenmeier is intense and credible. Although Ray is a difficult character who has done something reprehensible, Pierson plays him in a way that makes him at least somewhat approachable, if not exactly understandible. He’s full of conflict and self-reproach, but also a clear measure of self-excusing. Birkenmeier especially portrays Una’s mixture of anger, hurt, loneliness, and conflict with intense veracity. There’s also a fine performance from Sienna Hahn in a brief appearance as a character listed in the program as “Girl”.

The discomfort of the subject matter and the disturbing nature of the characters’ confrontation is reflected in Patrick Huber’s stark, grey set and sharp lighting. Costumer designer Teresa Doggett has outfitted the characters appropriately, as well. There’s also good work from props designer Jess Stamper and sound designer Pierson. The technical elements of this play aren’t flashy or obvious, but they provide just the right backdrop for the proceedings.

As I’ve already noted, this is a difficult play. It shows a distressing, uncomfortable confrontation on a direct, human scale. Blackbird is definitely not for all audiences, but STLAS has done about as excellent a job with it as I can imagine. It’s a disturbing, challenging, thought-provoking experience.

John Pierson, Elizabeth Berkenmeier
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Blackbird at the Gaslight Theatre until February 25, 2018

 

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A Poignant, Personal “Tuesdays With Morrie” at New Jewish Theatre

Posted in St Louis Theatre, tagged , , , , , , on October 10, 2017| Leave a Comment »

Tuesdays With Morrie
by Jeffrey Hatcher and Mitch Albom
Directed by Annamaria Pileggi
New Jewish Theatre
October 5, 2017

Andrew Michael Neiman, James Anthony
Photo by Eric Woolsey
New Jewish Theatre

 

The first production of New Jewish Theatre’s 21st season is the stage adaptation of Mitch Albom’s popular book Tuesdays With Morrie. It’s a two-man show, bringing to the stage two excellent local actors, continuing NJT’s tradition of excellent casting. I hadn’t read the book or seen the play, and I’m glad this has been my introduction to it.

The story is autobiographical, depicting the friendship between author and sportswriter Mitch Albom (Andrew Michael Neiman) and his former university professor, Morrie Schwartz (James Anthony). Mitch narrates the story, starting with how he first met and got to know Morrie at Brandeis University in the 1970s, but then lost touch after Mitch graduated and he threw himself into his career. After 16 years of no contact, Mitch finally sees Morrie on TV, being interviewed on Nightline. It’s through this program that Mitch learns of Morrie’s diagnosis with ALS, or Lou Gehrig’s Disease. Mitch then calls Morrie, who actually remembers him, and the phone call eventually leads to a visit, which becomes a series of visits in which Mitch gets reacquainted with Morrie as Morrie’s illness progresses. Over the course of a few months, Mitch and Morrie become close again, and Mitch learns a lot from Morrie about what really matters in life. We also see the devastating effects of Morrie’s condition, as the once energetic professor finds himself unable to perform basic everyday tasks, and Mitch has to help him more and more during his visits. It’s a vivid depiction of two men and their remarkable friendship as both of them learn to deal with issues of life, mortality, and priorities in different but highly personal ways.

It’s a moving story already, but what really makes this production is the casting. Neiman and Anthony are both excellent in their roles, with Neiman convincingly portraying Mitch’s journey from a workaholic who buries his emotions in his job to being forced to care about Morrie and his situation and reconsider his own outlook on life. Anthony, especially, is superb as Morrie, an intelligent, witty, and vital man who has to come to terms with his own physical decline and his impending death. It’s a remarkable performance, achingly realistic as Morrie’s motor functions first falter, and then gradually fail, while Morrie still maintains his passion for life and his concern for Mitch and everyone else around him. The later scenes in the play may be difficult to watch, as Morrie’s decline is more and more evident, and as Neiman and Anthony portray the increasingly close friendship between these two men as the inevitable approaches.

The production values here, as usual, are first-rate, with a detailed and imaginative set by Cristie Johnston that focuses on a large, leaning bookcase, and also effectively utilizes a turntable at a key point in the production. The sense of movement and passage of time is effectively achieved through the staging, as well. There’s also excellent work from lighting designer Michael Sullivan, costume designer Michele Friedman Siler, props master Sarah Azizo, and sound designer Amanda Werre, as all the technical elements work together to help bring the audience into Mitch and Morrie’s world.

Tuesdays With Morrie is an emotional play, portraying a full range of feelings and moods from humor to drama to heartrending sadness, to ever-persistent hope, as personified by Morrie and his relationship with and influence on Mitch. It’s an expertly staged and acted production that’s likely to bring laughter as well as tears. It’s a thoroughly believable portrayal of a genuinely affectionate friendship, as well as the depiction of terminal illness and the process of grief. It’s another memorable production from New Jewish Theatre.

Andrew Michael Neiman, James Anthony
Photo by Eric Woolsey
New Jewish Theatre

New Jewish Theatre is presenting Tuesdays With Morrie at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until October 22, 2017

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