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
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
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
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
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
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
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
Grey Gardens, the offbeat musical based on a cult-hit 1975 documentary about two reclusive relatives of Jackie Kennedy’s, is making its St. Louis debut with a presentation by the ambitious Max & Louie Productions. Although the source material was also made into an HBO movie in 2009, I don’t think audiences need to be familiar with the story to enjoy this stunning, memorable production. The top-notch production values, ideal casting, and thoughtful direction makes this a show that should intrigue audiences regardless of whether they have seen either of the films.
I can make the above statement with some authority since, while I had heard of the films, I had never seen either before seeing this production. I had heard a few of the songs before, but aside from that and from knowing a little bit about the story on which the films and show are based, I went into this production with a fresh perspective, and I’m glad that this excellent production could be my introduction to the show. It’s the story of a mother and daughter–Jacqueline Kennedy’s aunt Edith Bouvier Beale and her daughter “Little Edie” Beale, who were at the height of New England society in the first part of the 20th Century, but by the 1970s had become reclusive and lived together surrounded by clutter and cats in their once-grand mansion, Grey Gardens, The show’s two acts show the audience their existence at two important eras of their lives, the 1940’s and the 1970s. Debby Lennon plays “big” Edith in the 1940s and older “Little” Edie in the 1970s, with Donna Weinsting playing “Big” Edith in the 70s and Madeline Purches playing the younger “Little” Edie in the 40s. It’s a depiction of these women’s close but volatile relationship and the eccentricities of both.
In a way, this is almost two plays, although Act 2 is essentially dependent on Act 1 as background. Act 1 shows Edith Bouvier Beale in her prime, as she holds court in her palatial mansion planning an engagement party for Edie and her fiance’, Joseph Patrick Kennedy, Jr. (Will Bonfiglio), although despite her daughter’s wishes, Edith intends to make the party more of a concert with herself as the star, accompanied by her ever-present pianist, George Gould Shaw (Terry Meddows). While Edie and Joe hope for the future, Edith lives in a somewhat deluded version of the present, where her ever absent husband is just “too busy” to be around, although she clings to the hope that he will be there to attend the party. The future is also represented by Edith’s young nieces Jackie (Phoebe Desilets) and Lee (Carter Eiseman) who are encouraged to “Marry Well” and fit into society by their domineering grandfather, Edith’s father J.V. “Major” Bouvier (Tom Murray). All the grand plans don’t go entirely as planned, however, and the result of what happens is seen in Act 2, where the mother and daughter are still living in the shell of a mansion and “Little” Edie clearly resents being tied to her mother, who has turned her attentions to the cats and to a hippie-ish young man named Jerry (also Bonfiglio) while the ghosts of the 1940s characters remain as a chorus of echoes from the past. It’s a difficult play to describe, and I don’t want to say too much so as to spoil it, but there’s a lot to see here and this wonderful cast makes it fascinating to watch.
The music ranges from more classical to more popular sounding songs, and the lead part of Act 1 Edith/Act 2 Little Edie is a demanding one, in terms of acting as well as musically. Fortunately, this production has the marvelous Debby Lennon, who gives a commanding performance, holding court as the imperious Edith in the 1940s and as the resentful, regretful, offbeat Little Edie of the 70s. There’s a suggestion of emotional/mental challenges for both women, although Edith seems much more assured in Act 1, trying to control the life of her only daughter, the excellent Purches as the desperately ambitious young Little Edie. In Act 2, when Lennon becomes the haunted, erratic older version of Little Edie, the superb Weinsting takes over as a sadder but not necessarily wiser Edith. Mother and daughter in Act 2 have a caustic, if dependent, relationship, and this is expertly played by both actresses and staged well by director Annamaria Pileggi, as silence and deliberation becomes as important in communication as the speaking. There are also strong performances from Meddows as the jaded, snarky pianist Gould, Murray as the affable but domineering Major Bouvier, and Desilets and Eiseman in winning performances as the young Jackie and Lee Bouvier. Bonfiglio and Omega Jones are also memorable in dual roles–Bonfiglio as the ambitious Joe Kennedy and as the sweet slacker Jerry, and Jones as the Beale’s butler Brooks in the first act, and as his son the groundskeeper Brooks, Jr. in the second. The whole ensemble is excellent, working together well and presenting the material with clarity, ably supporting Lennon and Weinsting, whose performances are the anchor of this production.
The production values here are first rate, with a meticulously detailed set by Dunsi Dai that allows is appropriately luxurious in the first act, and then dressed down in Act 2 to show the mansion’s state of disrepair. There are also colorful, ideally suited costumes by Jennifer JC Krajicek and hair and wig design by Emma Bruntrager , highlighting the high style of the rich elites in the first act, and reflecting more eccentric personal styles of the Edies in the second. Michael Sullivan’s lighting is used to excellent effect to help set the scene and tone of each era.
The overall tone of this piece is melancholy, with shades of lost hope, regret, and emotional dependence. Still, these are truly formidable women regardless of their circumstances, and their story is vividly portrayed here. Max & Louie’s shows are always memorable, and this one is no exception. It’s an extraordinary work of theatre, not to be missed.
Donna Weinsting, Will Bonfiglio Photo by Dan Donovan Max & Louie Productions
Max & Louie Production is presenting Grey Gardens in the Wool Studio Theatre the JCC’s Staenberg Family Complex until December 23, 2015.
Reality
by Lea Romeo
Directed by Annamaria Pileggi
HotCity Theatre
December 13, 2014
Ben Nordstrom, Maggie Conroy, Tyler Vickers Photo by Kyra Bishop HotCity Theatre
Scene: a beautiful tropical island. An elegantly dressed man and woman stand on the beach, while the man gives a halting speech declaring his love for the woman. He proposes, and she accepts with great enthusiasm. He puts the ring on her finger, and they embrace. Cut! That’s a wrap! That may seem like the end of a story, but it’s just the beginning in Reality, a new comedy by Lia Romeo that examines life after the cameras stop rolling for the contestants of a Bachelor-like reality dating show. It’s an incisive, witty swansong for HotCity Theatre, a long-time fixture in the St. Louis theatre scene that will be closing its doors following this production.
It will be sad to see HotCity go, but they’re certainly not going without humor. Reality is a new play that explores its subject matter with a clever premise, a well-structured plot, and well-drawn characters. It’s also inventively presented to look like the shooting of a television show. When Matt (Tyler Vickers) proposes to Annie (Maggie Conroy) while filming the last episode of the TV show Looking For Love, their “journey” isn’t over. As show producer Josh (Ben Nordstrom) informs them, they now have to keep their relationship quiet until the final episode airs. This is a complicated situation, as Matt and Annie are set up in a “safe house” away from prying eyes on the weekends so they can spend time together, although Annie quickly finds that Matt isn’t the kind of guy she thought he was, and Matt isn’t sure what he thinks of the relationship, Annie, or himself. Annie, who has dreamed of finding an ideal mate, is surprised to learn from runner-up contestant Krissandra (Julie Layton) that many of the show’s contestants were there for Hollywood exposure rather than to find love. While the relationship between Matt and Annie is tested, Josh is there as a confidant for Annie and becomes another complication, but is Josh being sincere or is he more concerned about the show?
This is an intriguing show in its concept, which is very well realized by Director Annamaria Pileggi and the strong cast and crew. With a set designed by Kyra Bishop to resemble the set of a TV show, and Michael Sullivan’s lighting and Jane Sullivan’s costumes adding to the reality TV-style atmosphere, this play makes an impression with its consistent sense of theme. Even the scene changes are structured like those of a TV show, and when the actors leave the set, they are often visible getting ready for the next scene. Everything is out in the open here, unlike the situation for Annie, who is often in the dark as to what is happening around her. Conroy gives a convincing performance as the somewhat naive Annie, who is gradually learning that reality isn’t exactly what it seems. Vickers, as the amiable but somewhat clueless Matt, displays a convincingly awkward chemistry with Conroy. There’s also excellent work from Nordstrom as the sometimes charming, always scheming Josh, and by Layton as the brash Krissandra, who is probably the most honest character in the show. Her scenes with Conroy as the two drink wine and swap stories about what happened during filming are among the comic highlights of the production. The relationship dynamics are constantly shifting in this play, and the cast handles all the changes and surprises with energy and excellent timing.
If you have watched any reality dating shows, the format of the fictional Looking For Love will be familiar. As extreme as the situations can get in this play, it’s not that difficult to imagine a similar situation happening behind the scenes of a TV show like this in real life. That sense of only slightly heightened reality adds to the entertainment value of this memorable comedy. It’s another strong production from HotCity, a St. Louis theatre company that has will be missed very much.
Julie Layton, Maggie Conroy Photo by Kyra Bishop HotCity Theatre
Rembrandt’s Giftis an intriguing little play. I say “little” because it’s surprisingly short and concise, and I say “intriguing” because it’s not easy to categorize. It’s a domestic drama, a comedy, and a fantasy all rolled into one, involving the famous 17th Century Dutch painter acting as a combination catalyst and counselor for a troubled present-day couple. It’s a fast-moving play with an interesting concept, and the biggest strength of Dramatic License Productions’ latest presentation is its excellent cast, along with some wonderful technical elements.
The story takes place entirely in the cluttered New York City loft apartment of married couple Walter (John Contini) and Polly (Kim Furlow), who are dealing with a multitude of issues, including Walter’s OCD and hoarding, threats of eviction, and Polly’s regrets over the stagnation of her once-celebrated career as a photographer. Walter, once a successful actor, has become increasingly housebound and attached to his large, unwieldy collection of theatrical costumes and other memorabilia, and Polly is increasingly frustrated with his life-dominating rituals and his unwillingness to help her clean up the house in preparation for a meeting with their landlord. When an argument erupts surrounding Polly’s favorite framed self-portrait of Rembrandt, the two are shocked to find the painter himself (Greg Johnston) standing in their hallway, after having apparently been transported via a mirror on the wall. Rembrandt, who speaks in a style reminiscent of Shakespearean English, is understandably bewildered by his sudden arrival in 21st Century New York. Meanwhile, Polly–who seems to have had something of a historical crush on the painter–is thrilled, and Walter is suspicious. As Walter, Polly, and Rembrandt struggle to make sense of their situation, events transpire that challenge the strength of Walter and Polly’s marriage, as well as challenging all three to confront their own life goals, dreams and regrets.
This is a very quickly paced play, with some witty dialogue and a lot of historical background. It’s obvious that playwright Tina Howe did a lot of research about Rembrandt’s life, and all three characters are richly drawn. There are a few surprises along the way as Rembrandt’s role in Walter’s and Polly’s lives evolves into something unexpected, and the conclusion is upbeat if a little bit simplistic. Still, the real strength of this play is in its characters, and they are ideally cast here with excellent local performers. Contini’s portrayal of Walter is especially noteworthy, in showing the full range of emotions of this proud, aging actor who is being forced to confront his own fears and limitations, as his sense of devotion to his beloved costume collection is contrasted with his devotion to his wife, with the surprising antagonist being the out-of-place Rembrandt. Johnston plays the painter with a charmingly baffled air and a sense of renewed wonder, as the transplanted artist is forced to discover a new world of sights, sounds and people. Both actors play well against one another, with an intense confrontation in the second act that includes a dynamic and at times hilarious sword fight choreographed by Erik Kuhn. Both also display strong chemistry with Furlow, whose wistful Polly is torn between her commitment to Walter and her star-struck enchantment with Rembrandt. All three performers do excellent work here, carrying the weight of the story on their shoulders and managing to maintain sympathy and energy.
The technical elements are especially well done here, as the small performance space in Chesterfield Mall is transformed into a cluttered SoHo loft that looks like a cross between a theatrical costume shop and an attic. The set design, by Cameron Tesson, is richly detailed, as are the ideally suited costumes by Teresa Doggett. From Rembrandt’s robes to Walter’s conglomeration of theatrical garb, the costumes help create and maintain the tone of both confinement and whimsicality at the center of this story. There are also some fantastic lighting effects by lighting and sound designer Max Parilla. This is the kind of show in which the setting is almost a character in itself, and the production values are very impressive here.
This is a play about relationships. It deals with a husband and wife’s relationships with one another, as well as artists with their fans and with their art. Although the story can be bit simplistic at times, it’s full of funny and poignant moments, as well as strong dialogue. Ultimately, Rembrandt’s Gift at Dramatic License is worth seeing for the quality of the physical production and, especially, the first-rate cast. It’s another great reminder of the sheer depth of talent in the St. Louis theatre community.
Kim Furlow, John Contini, Greg Johnston Photo by John Lamb Dramatic License Productions
