Posts Tagged ‘colin mclaughlin’

A Brick and a Bible
by Kathryn Bentley & Colin McLaughlin
Original Music by Alicia Revé Like and Anita Jackson
Directed by Rayme Cornell
Bread and Roses Missouri
February 28, 2026

Cast of A Brick and a Bible
Photo by Studio Kay
Bread and Roses Missouri

Bread and Roses Missouri is presenting a fascinating production in various venues around St. Louis, having started at the Missouri History Museum, which is fitting since it centers around an important but not necessarily well-known moment in the life of our city. A Brick and a Bible focuses on a Depression-era workers’ strike that called attention to class struggles, racial divides, and institutionalized racism and sexism. This production sets the tone in a very historically “St. Louis” way, with Jazz and Blues music to underscore the movement led by a group of determined Black women. It’s not a long play, but it’s educational, informative, and strikes me especially as a show than can be toured.

Set in 1932 in the midst of the Great Depression, the story focuses on a group of workers at a nut factory, fighting for better working conditions and equal pay for Black women workers. The Funsten Nut Strike was eventually joined by more workers–including white women–and supported by Black churches as well as the Communist party, who historically supported various workers’ strikes and causes. The leaders, though, were a group of Black working-class women who were determined to make life better for their fellow workers. The central character is Elizabeth (Christina Yancy), a scholarly, church-going young woman who has taken a job at the factory to help support her family. She is contrasted with Delores (Thomasina Clarke), Elizabeth’s co-worker who helps bring the local Communist party into the cause, and who is good friends with Elizabeth despite their differences in faith and philosophy. As the initially reluctant Elizabeth is brought into the workers’ rights movement, she also struggles with the expectations of her academic mentor, Ms. Leonard (Alexandra Jay), who encourages Elizabeth to “find her voice” but also isn’t sure about how the young women chooses to be involved.

The rest of the characters are other leaders and participants in the strike, including Carrie Smith (LaWanda Jackson), Cora Lewis (also Jay), and Communist party representative Bill Setner (Ryan Lawson-Maeske). There’s also a “chorus” of singers (Adrienne Spann, Hassie Davis, Joshua Mayfield) who narrate and comment on the action, as well as playing other characters in the story as needed. The music, by Alicia Revé Like with additions by music director Anita Jackson, is rooted in the jazz and blues styles of 1930s St. Louis, as well as some Gospel influences, reflective of the deep faith and church involvement of many of the characters. The overall atmosphere and setting are well-realized by means of an excellent set by Laura Skroska that features a backdrop of news headlines of the day, along with striking lighting by Theresa Comstock and excellent sound design by Ahsa-Ti Nu. The costumes by Shevaré Perry also add an authentic air to the story, and the music is also memorable, played with skill and emotion by musicians Gregg Haynes and Willem Von Hombracht. 

The players are impressive all around, led by the charismatic and relatable Yancy as Elizabeth, Clarke as the sharp-witted and determined Delores, and Jay as the inspiring and occasionally bewildered Ms. Lewis. The rest of the cast is also excellent, with strong voices from the chorus and the rest of the players occasionally joining in the singing. This isn’t a musical, exactly, but more a play that uses music as something of a backdrop and commentary on the action.

Another striking aspect of this production is its portability. Though it opened at the Missouri History Museum, it played its second weekend at the Metro Theatre Company space in Midtown, which is where I saw it. It will be playing one more weekend at St. Stephen’s & The Vine Episcopal Church in Ferguson. This strikes me as the type of show that could fairly easily be toured to various venues, although I recommend checking it out while you can. A Brick and a Bible is a show that highlights an aspect of St. Louis History that many might not know. It’s a well-paced, intriguing and riveting tale. 

Bread and Roses Missouri will be presenting A Brick and a Bible at St. Stephen’s & The Vine Episcopal Church on March 7-8, 2026

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Pride and Joy
by Colin McLaughlin
Directed by Carl Overly Jr.
The Midnight Company
July 10, 2025

Joe Hanrahan, Lavonne Byers, Alicen Moser
Photo by Kristina Schall DeYong
The Midnight Company

The Midnight Company’s latest production is a new play that’s also something of a throwback. Deliberately styled in the form of a classic sitcom, Colin McLaughlin’s Pride and Joy is a comedy about a family with a lot of drama, kind of like a “Very Special Episode”. As directed by Carl Overly Jr. and featuring a first-rate cast of local performers, it’s a show that brings lots of laughs and a credible portrayal of a family with a lot of issues to work out. 

The sitcom elements are obvious before the play even starts, as the audience is treated to a playlist of famous themes from classics like Friends, The Jeffersons, The Office, Cheers, and more, and the well-appointed set by Chuck Winning brings to mind a classic sitcom living room setup. As the show gets going, more of these elements become apparent, including “commercial breaks” and bumper music. The pacing is sitcom-like, as well, although the runtime is longer than the average sitcom at roughly 80 minutes. It somewhat calls to mind one of those “Very Special Episodes” of classic comedy shows, when a serious issue is brought up, although the tone here is, for the most part, kept relatively light.

The story follows the Moran Family–parents Michael (Joe Hanrahan) and Mary (Lavonne Byers), and their adult children Jay (Jayson Heil), Sam (Sarah Lantsberger), and Maggie (Alicen Moser). The action takes place at Sam’s apartment, as the rest of family arrives having been called there for a “Family Intervention”, although Sam is late and everyone else is left to try to figure out who the intervention is for. After a while, Sam arrives and the goal of the evening is made more clear, but even though there is a stated “target” for the intervention, a lot of issues get brought up, and every character gets their moments to fess up about various issues, including Jay’s self-professed “assholery”, Mary’s focus on others to the perceived neglect of herself, Maggie’s fondness for weed, Michael’s on-and-off issues with drinking, and Sam’s own issues that she reveals in the course of the intervention, which tie into her relationship with her family. It’s a quick-witted, characterful show with a good deal of genuine laughs and moments of drama peppered in for good measure.

The characters are well-drawn and expertly played, led by Lantsberger in a well-measured performance as the well-meaning but occasionally controlling Sam, and Byers as the motherly, longsuffering Mary, who gets some of the best dramatic moments in the show. There’s also excellent work from Hanrahan as the reluctant Michael, Heil as the outspoken Jay, and Moser as the somewhat mischievous Maggie. The give-and-take in the conversations and the undercurrent of genuine care in the midst of the bickering is well done and expertly paced, making the most of the sitcom format and providing much to think about and relate to, as well as laugh about. 

There’s also notable work from lighting designer Tony Anselmo and costume designer Liz Henning, as all the elements of the show work together to give the audience a funny, thoughtful look at a dysfunctional family that tries hard to function better. The enthusiastic laughter of the audience also adds to the overall sitcom vibe. Pride and Joy is an intriguing, funny new play that provides the classic TV experience with the bonus of live theatre energy. 

Jayson Heil, Sarah Lantsberger, Lavonne Byers, Alicen Moser
Photo by Kristina Schall DeYong
The Midnight Company

The Midnight Company is presenting Pride & Joy at The Chapel until July 26, 2025

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