Posts Tagged ‘e. k. doolin’

Chorus of Fools Does a “Double Take” of Promising New Plays

Posted in St Louis Theatre, tagged , , , , , , , , , , on February 6, 2025| Leave a Comment »

Double Take
Chorus of Fools
January 30, 2025

On of the newer theater companies in St. Louis, Chorus of Fools, recently presented a duo of new plays by local playwrights at Greenfinch Theater & Dive. Called by the collective name Double Take, the two one-acts each featured the work of strong casts and talented local playwrights. Both are comedies, but with a touch of drama added in, covering topics from the conspiratorial to the controversial, but focusing on the human experience and vulnerabilities of their characters.  Here are some thoughts on each play:

 

The Bigfoot Diaries
by Eric Satterfield
Directed by e.k. doolin

Xander Huber, Moira Healy
Photo by David Nonemaker
Chorus of Fools

Bigfoot is big business in a small North Carolina town, especially during their annual Bigfoot Days Festival. This play, framed as a podcast episode narrated by local journalist Harper (Irene Cornett) is essentially an examination of insecurity, manipulation, and obsession, and how these affect the town and especially the life of one young man who runs a Bigfoot themed tourist shop.

Marty (Xander Huber) doesn’t really believe in Bigfoot, but he’s been obsessed with the story of the creature his whole life nonetheless. As the town’s sheriff, Ruby Lee (Nikki Plato) investigates a recent incident in the woods in which a local teen, Daniel (Zach Pierson) was injured, Harper seeks to interview Marty for a story in the local paper. Meanwhile, Marty struggles with his own insecurities concerning his past as well as his burgeoning relationship with Cassie (Moira Healy), who works at his store. Soon, we learn that there’s more to the developing mystery than meets the eye, and some characters may not be as innocent as they seem.

This is an engaging play with a fun sense of humor and an intriguing premise, especially in its focus on Marty and his relationships, although the story seems a bit rushed as it begins to wind down, and the ending seems a little too easy. Huber is excellent and sympathetic as Marty, though, and the characters are well drawn, for the most part. There are strong performances all around, and Huber’s chemistry with Healy’s likable Cassie is a highlight. The technical aspects of this show are well done, with memorable costumes by LaWanda Jackson and Hazel McIntire, and fun props by Vickie Delmas, with strong lighting by Erik Kuhn, and excellent sound and projections by Eric Satterfield. 

The Pavement Kingdom: A Clinic Escort Play
by Courtney Bailey
Directed by Rachel Tibbetts

Marcy Wiegert
Photo by David Nonemaker
Chorus of Fools

This play, by the imaginative Courtney Bailey, is something of a stand-up routine with a story, featuring a tour-de-force performance by Marcy Wiegert as Charon, who tells her eventful story while on duty as an escort at an abortion clinic. 

At first, I wasn’t sure if this was really going to be much of a play, considering it spends a good amount of time as essentially an excuse for Charon to tell jokes. This part of the play could possibly stand being trimmed a bit, but it does eventually lead somewhere, as Charon’s presentations about comic “bits” eventually turn into an emotional personal story, as well as a kind of object lesson in empathy. The structure makes sense for Charon’s guarded-but-ultimately-vulnerable character, although I do wonder if the first part could be condensed a bit. 

Wiegert is fantastic as Charon, with excellent comic timing and a snarky but engaging personality, as well as a strong dramatic ability when it is needed, especially as the story finally veers more out of “stand up” territory and gets more personal. The character’s journey is at the heart of the story, and Wiegert plays it well. The costumers and props designers deserve kudos here, as well, with Charon’s colorful outfit and props adding to the overall mood and attitude of the story. 

Overall,  Double Take has served as an intriguing showcase for two local playwrights and some fantastic local performers, fitting well into the Greenfinch space and supported by an enthusiastic audience. It’s a memorable theatrical endeavor for this theater company.

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Contraband’s Well-Cast “Am I Dangerous?” is a Fascinating Work in Progress

Posted in St Louis Theatre, tagged , , , , , on October 12, 2024| Leave a Comment »

Am I Dangerous?
by e.k. doolin
Directed by Tress Kurzym
Contraband Theatre
October 9, 2024

Allison Sexton, Jade Cash
Photo by Jennifer A. Lin
Contraband Theatre

Contraband Theatre is presenting another intriguing play at the Chapel, after last year’s production of Jacob Juntunen’s See You In a Minute, which was my favorite new play last year. This year’s production, e.k. doolin’s Am I Dangerous? is also an intriguing, thoughtfully staged show that tackles a lot of issues, particularly concerning women and society’s expectations of what a woman should be. It’s a fascinating production, with a great cast and a striking look and atmosphere, although the promising script could use some revision and clarification.

Inspired in part on the sort-of Shakespeare play Pericles, Prince of Tyre, this story focuses on some of the supporting characters from that play, and especially on the very minor character of Philoten (Allison Sexton), who is essentially given her own new story. Philoten is the teenage daughter of Dionyza (Zahria Moore), who is serving as a sort of religious and political leader while the men of the town in which they live are off at sea. The story is told largely in flashback, beginning as Philoten arrives at the Temple of the Sky, Sea, and Earth, expecting punishment because she says she has killed her mother, but she won’t explain the details. The denizens of the temple then use a shell that Philoten has brought as means to bring back key memories in her life, examining her life and relationships, as well as the influence of her mother, her rebellious foster sister Marina (Jade Cash), and Lychorida (Rachel Bailey), who takes care of Marina and who also has developed a close relationship with Philoten as well as an adversarial relationship with Dionyza. Examining these relationships and seeing them from new angles challenges Philoten to look more closely at her own life and see how she has been influenced by societal expectations, especially those of her strict mother. Issues brought up include societal expectations for women in terms of morality, behavior and appearance, as well as sexuality and body image. There’s also an environmental angle, looking at climate change and humans’ influence on the condition of the earth. 

While this is an intriguing story and the characters are intriguing, there are moments when the dialogue can veer a little too close to being preachy, and there are so many issues dealt with that it seems like there isn’t quite enough time to do all of them justice. Also, although Philoten is the main character, she often comes across as the least developed in terms of personality. This makes sense to a degree, because her figuring out who she is forms a major focus of the play, but often it seems like the rest of the characters have more developed plotlines. Sexton does an excellent job with what she is given, but this character could use a little more to do rather than simply reacting to what’s happening around her.

The rest of the cast is also strong, with a commanding performance from Moore as the domineering Dionyza, as well as Cash as the amorously adventurous Marina, and Bailey in a  strong turn as the determined Lychorida. These three also double as the temple spirits, delivering excellent moments of mystery and enigmatic energy. All four cast members work together well, with memorable energy and terrific ensemble chemistry.

The look of this production is simply striking, with an elegant classical-inspired set by Erik Kuhn and eye-catching costumes by Tress Kurzym. There’s also excellent work from lighting designer Theresa Comstock and sound designer De’Janna Hand, creating a vivid world for these characters to inhabit and serve as an ideal backdrop for this thought-provoking story.

Although it definitely seems to go its own way, it may help in understanding Am I Dangerous? if you’re more familiar with the story and script of Pericles, which I haven’t seen or read (although I read a synopsis after seeing this play). Still, even if you’re coming into this show with little or no knowledge of its source, the issues dealt with here are especially timely and immediate for modern, mature audiences. While the script could use some editing and condensing, and the characters (especially Philoten) could be given more to do, I find this an especially promising script that is sure to provoke much thought and valuable conversation.

Zahria Moore, Rachel Bailey
Photo by Jennifer A. Lin
Contraband Theatre

Contraband Theatre is presenting Am I Dangerous? at The Chapel until October 26, 2024

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