Posts Tagged ‘cameron jamarr’

Soul Siren’s “Robbin” Intrigues and Educates with Strong Leading Performances

Posted in St Louis Theatre, tagged , , , , , on March 28, 2026| Leave a Comment »

Robbin, From the Hood
by Marlow Wyatt
Directed by Cameron Jamarr
Soul Siren Playhouse
March 21, 2026

Brandon Avila, Jayous Celestine
Photo: Soul Siren Playhouse

Soul Siren Playhouse has taken the stage at the .ZACK with their latest thought-provoking production, playwright Marlow Wyatt’s Robbin, From the Hood, directed by Cameron Jamarr. A look at class differences, corporate greed and exploitation, along with persistence and ambition in the struggle for economic advancement, this show features memorable characters, a well-chosen cast and impressive projections and sound, along with a fascinating if not entirely believable story, and some clunky staging. 

The story focuses on high school student Robbin Woods (Joyous Celestine), who lives with her grandfather, Percy (Don McLendon) in a small apartment in a struggling neighborhood. She and her best friend and classmate Juan Rodriguez (Brandon Avila) are excited about having been accepted to a summer job training program at mega-corporation Kennedy Global. There, they meet executives Margaret (Chrissie Watkins) and Kyle (Jeremy Thomas), who have differing opinions about taking them on as well as investing in the poorer neighborhoods of the city. Robbin and Juan initially thrive, but some complications arrive. On the home front as Robbin deals with the onset of dementia for Percy, and his estrangement from his son (Robbin’s uncle) Charlie (Trials Davis), who is in prison; while at the office, Robbin’s ambition gets her noticed, but eventually a new situation arises that calls her standing into question, also leading to potential conflict with Juan. I won’t say much more, but I will say that the title’s reference to Robin Hood isn’t a coincidence, and some characters aren’t what they initially seem. 

It’s an intriguing story with an important message of class struggles, corporate greed, and the importance of family bonds, but the structure is a little confusing at times, and the ending is a bit too abrupt. Also, the staging might work better on a unit set with designated “office” and “home” areas, because as it is, the staging requires so many scene changes that it affects the flow and length of the play, which runs nearly two hours without intermission. The cast is excellent, however, especially Celestine as the likable and determined Robbin, Avila as the equally determined and upbeat Juan, and McClendon as the loving but increasingly confused Percy. Woods does well in a smaller role as Charlie, and Watkins and Thomas are solid in their parts as the conflicted and conflicting Margaret and Kyle. 

The set by Bradford Rolen is especially effective in the home scenes, representing the small apartment well, but the office scenes don’t quite seem grand enough for as big, glitzy, and initially intimidating as Kennedy Global is supposed to be. The videos and projections by Jamarr are stunning, however, and add much to the overall impact of the story. There’s also good work on the sound by Jamarr and Rolen on costumes and props, making for an especially believable transition for Robbin and Juan into the corporate world. 

Overall, this is a thought-provoking, characterful story that effectively highlights the lead characters’ plight, although it could use a bit of restructuring to make it a little more coherent, and some of Robbin’s, Margaret’s and Kyle’s actions especially seem implausible in parts. Also, the .Zack space still has sightline issues that can detract from the overall audience experience. Still, for the most part, Robbin, From the Hood makes for an intriguing, educational evening of theatre.

Trials Davis, Don McClendon
Photo: Soul Siren Playhouse

Soul Siren Playhouse is presenting Robbin, From the Hood at the .ZACK until March 29, 2026

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Intense “Dutchman” is a Memorable Debut for Soul Siren Playhouse

Posted in St Louis Theatre, tagged , , , , , , , , on February 5, 2024| Leave a Comment »

Dutchman
by Amiri Baraka
Directed by Cameron Jamarr, Eileen Engel, Bradford Lewis Rolen, and Zahria Moore
Soul Siren Playhouse
February 1, 2024

Cameron Jamarr, Eileen Engel
Photo by Zak Littrell
Soul Siren Playhouse

A new theatre company is staging an production of a celebrated 1964 play at one of St. Louis’s newest venues, and the energy on stage is palpable. Artistic director Cameron Jamarr, who also stars in the production of Amiri Baraka’s Dutchman, is bringing the long-planned Soul Siren Playhouse to life at Greenfinch Theatre & Dive. With a great cast and impressive production values, the show fits into its venue well and brings a challenging story and themes to St. Louis in a compelling and memorable way.

The play is billed as something of an “Adam and Eve” story, while also embodying playwright Amiri Baraka’s political philosophies calling out white supremacy as well as challenging the non-violence of the Civil Rights Movement. Clay (Jamarr) is a young Black man, a passenger on a subway car, minding his own business until he encounters Lula (Eileen Engel), a white woman who at first appears to be something of a standard “temptress” type, trying to get Clay to bring her to the party he’s going to, and then up to her place later. It doesn’t take long, though, for Lula’s motives to become more clearly menacing, as she insists she knows Clay’s “type” and starts spouting offensive accusations and terminology, while apparently trying to simultaneously seduce Clay and belittle him. As a third passenger, a drunk man (Jeremy Thomas), appears on the train car, the adversarial “dance” between Lula and Clay continues, even though Clay gets increasingly uncomfortable until an explosive conclusion that is shocking in one sense, although there’s also the sense that it should have been expected all along. There’s not much else I can say without spoiling, but there’s a lot here to think about, and a powerful emotional impact that lingers after the show’s fairly short running time is done.

The four directors–Jamarr, Engel, Bradford Lewis Rolen, and Zahria Moore–have done an excellent job of staging a highly emotional, though-provoking work, with a lot of dynamic interaction and first-rate performances by the cast. Jamarr and Engel are at the center of the production, which also features Bryant and Donald Kidd alternating a “Young Man” who appears later in the play, and Thomas in a dual role as the drunk man and train conductor. It’s Jamarr and Engel who bring most of the drama, with terrific performances from each, and palpable adversarial chemistry along with hints of attraction, especially at first. Jamarr does a convincing job of playing the suspicious but curious Clay who is brought into the also excellent Engel’s scheming trap. Engel, for her part, is fantastic at gradually displaying the darker levels of Lula’s character. While her character is never likable, she seems less extreme at first than she eventually reveals herself to be. There’s a sort of “dance” that plays out between the two characters that is staged with remarkably effective energy and emotion.  

Visually, the show works well in the space as well as credibly portraying the somewhat grimy subway car setting, designed by Rolen. There’s also excellent work from sound and wig designer De’Janna Scales-Hand and lighting designer Lenny Banks. The “dive bar” setting at Greenfinch with its versatile and somewhat unpolished theatre space works especially well for this production, as well, with the close proximity of the audience to the actors adding something of an immersive note to the production and adding to the overall tension and dramatic experience.

There’s a lot of challenging material here, and Soul Siren Playhouse handles it about as well as I can imagine. They also provide compelling background information on a wall in the theatre that I found especially helpful in terms of context. This is a promising new company, and I look forward to seeing more shows from them in the future. 

Eileen Engel, Cameron Jamarr
Photo by Zak Littrell
Soul Siren Playhouse

Soul Siren Playhouse is presenting Dutchman at Greenfinch Theatre and Dive until February 18, 2024

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