Posts Tagged ‘edward m coffield’

Jake’s Women
by Neil Simon
Directed by Edward M. Coffield
Moonstone Theatre Company
November 4, 2021

Jennifer Theby-Quinn, Jeff Cummings
Photo by Phillip Hamer
Moonstone Theatre Company

Moonstone Theatre company is currently staging their first production in the studio theatre space at the new Kirkwood Performing Arts Center. Moonstone is a new theatre company, although it seems like they have been around for a while, considering artistic director-producer Sharon Hunter and company have managed to maintain a visible online presence (via Facebook, their website, and a podcast) over the past two years while waiting for the chance to finally stage a live production. Well, that production is here now, and it’s excellent. Neil Simon’s Jake’s Women features a first-rate cast and strong production values, making a strong impression on the St. Louis theatre scene.

Jake’s Women is one of celebrated playwright Simon’s later plays, having been originally staged in 1992, and like most of his works, it’s a comedy, although there are elements of drama as are characteristic of many of Simon’s later works. It’s early 90s origin is apparent in some of the jokes that don’t quite seem to “land” as well as they would have almost 30 years ago, but otherwise, it holds up well, speaking to universal issues of relationships, mental health, and the challenges of being a writer. Jake (Jeff Cummings) is a celebrated novelist currently dealing with writer’s block, as well as a variety of issues in his relationships with various women in his life, who appear mostly in Jake’s mind. These women include his current wife Maggie (Jennifer Theby-Quinn), his sister Karen (Hunter), his psychoanalyst Edith (Jennie Brick), his daughter Molly at age 12 (Amelie Lock) and at 21 (Carly Uding), and his late, beloved first wife Julie (Marisa Puller). All of these characters except Maggie only appear as Jake’s imagined/remembered versions who appear at first only as Jake “summons” them, although later they begin showing up on their own. Maggie, who is dealing with a strained marriage to Jake, appears both in Jake’s mind-visions and in “real life”, showing the contrast between how she really is and how Jake can imagine her. There’s also another character, Sheila (Mindy Shaw), who mostly appears in “real life”, as a new woman in Jake’s life who isn’t so sure what to think of him. As Jake debates, argues, and discusses with these figures in his life (in the real and imaginary versions), he seeks to work out his own struggles with fear of intimacy, grief over his loss of his first wife, his dependence on women, his fear of losing touch with reality, and more. It’s a fascinating, fast-paced picture of a complex character and a struggling marriage, as the relationship between Jake and Maggie is at the center.

As a Neil Simon play, this show is full of fast-paced, quick witted and self-deprecating humor, as well as memorable characters. In this production, all the characters are cast with impeccable precision. As Jake, Cummings is full of angsty energy, managing to be both obtuse and vulnerable at the same time, maintaining sympathy even when he can be stubbornly difficult. Theby-Quinn is an excellent match for Cummings as the conflicted Maggie, managing to convey a genuine love for Jake as well as exasperation with him, and a desire to discover more about herself. These two work especially well together, forming the emotional heart of this production. There are also strong performances from the rest of the cast, with Hunter as the ever-helpful but increasingly frustrated Karen, Brick as the acerbic Edith, Puller as the idealized but determined Julie, and Lock and Uding as two different versions of Molly all providing excellent support. Shaw, as Sheila, makes a strong impression in a small-ish role, as well, mostly reacting to Jake’s increasingly unusual behavior as he deals with the apparitions that she is unable to see. It’s a cohesive ensemble, bringing Simon’s quickly paced, talky script to life with emotion and verve.

The space at the Kirkwood Performing Arts center is ideal for this production, emphasizing the intimacy of the setting and working well with the style and theme of the play. Dunsi Dai’s relatively minimal set is also ideal, with both realistic and more abstract elements blending together with Michael Sullivan’s evocative lighting to highlight the more imaginative aspects of the play, as well as its very real humor and emotion. The costumes by Michele Siler and sound by Amanda Werre also contribute well to the overall tone and theme of the production, and director Edward M. Coffield’s staging is dynamic and energetically paced.

Overall, this is an impressive debut for a promising new theatre company. Jake’s Women provides a strong cast an excellent opportunity to bring this thoughtful, witty play to life. Moonstone Theatre Company is a welcome addition to the St. Louis theatre scene, and I’m looking forward to seeing more productions from them in the future. 

Cast of Jake’s Women
Photo by Phillip Hamer
Moonstone Theatre company

Moonstone Theatre Company is presenting Jake’s Women at the Kirkwood Performing Arts Center until November 21, 2021

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The Realistic Joneses
by Will Eno
Directed by Edward M. Coffield

Rebel and Misfits Productions
July 26, 2018

Alan Knoll, Isaiah DiLorenzo, Kelly Hummert, Laurie McConnell
Rebel and Misfits Productions

Will Eno’s The Realistic Joneses is a fascinating play, in terms of characterization, language, and insight. It’s one of those plays I’m tempted to write essays about, rather than simply a review. Its use of language makes me want to buy, read, and re-read the script. Still, a play is about more than the script. It’s about the whole production–acting, staging, production values, etc., and the new production by Rebel and Misfits Productions is the real deal. It’s a challenging, thoughtful, impeccably cast production of this intriguing, insightful play.

The story is something of an unfolding mystery, and part of its brilliance is that almost as much is communicated by what is not said as by what is said. The “Joneses” of the title are two married couples who at first seem to share little in common besides their last name. Appearances can deceive, however, and not all is how it first appears. The story unfolds in a series of scenes, starting as Bob (Alan Knoll) and Jennifer Jones (Laurie McConnell) sit at a table in their backyard, awkwardly attempting to converse. They are interrupted by the unexpected arrival of their new neighbors, the younger couple John (Isaiah DiLorenzo) and Pony Jones (Kelly Hummert). This first meeting is soon followed by a series of more meetings of various combinations of the characters, as the new neighbors get to know more about each other, and the audience learns that there’s more to this story than originally presented. The relationships grow more and more complex, and life situations more serious as issues of life and death, love and meaning, are discussed and played out. The process of discovery is a big part of the story, so I won’t reveal too much, but I have to say that Eno’s script is so well crafted, and this production is so insightfully staged, that clues to what is really going on become apparent in subtle but powerful ways.

This is a show that relies a lot on subtext, and that’s handled extremely well in this production, and by the truly excellent cast. The language is also particularly idiosyncratic, with each character having a specific way of speaking. All four performers here carry off the text and the subtext with impressive clarity, with excellent ensemble chemistry and couple chemistry. There’s real credibility in the relationships between the bickering Bob and Jennifer–played by real-life married couple Knoll and McConnell–and between the quirkier Pony and John, played by Hummert and DiLorenzo with presence, humor, and poignancy. The characters are all relatable in different ways, and enigmatic in other ways–with Knoll and DiLorenzo particularly adept in portraying their characters’ particular types of evasion, McConnell’s wariness through her weariness, and Hummert’s clear communication of the outwardly flighty Pony’s inward depth and dawning realization of what is happening. It’s an ideal cast for this challenging, highly character-driven play.

The neighborhood setting is well-realized through Peter and Margery Spack’s detailed set. Sitting on either side of the performance space, the feeling is of being in these characters’ backyard. There’s also excellent sound design by Ellie Schwetye, and lighting by Jon Ontiveros that helps set the mood and sense of passage of time throughout the play.

The Realistic Joneses is one of those plays that makes me really think about language, to the point where it had me thinking about speech patterns in real life even after the play was over. It’s a highly character-focused play that presents characters that one might see every day, but also emphasizes communication, of emotions, of ideas, and of the changing realites of life. It’s a play I’d read about but had never actually seen, and now I’m glad this remarkable production has given me the opportunity to see it.  There’s still some time to see it, and I highly recommend checking it out.

Laurie McConnell, Alan Knoll
Photo: Rebel and MIsfits Productions

Rebel and Misfits Productions is presenting The Realistic Joneses at the JCC New Jewish Theatre Black Box until August 12, 2018

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Book, Music and Lyrics by Lionel Bart
Directed by Edward M. Coffield

Choreographed by James Compton and Libby Salvia

Insight Theatre Company

June 6, 2014

Ronan Ryan, Spencer Davis Milford Insight Theatre Company

Ronan Ryan, Spencer Davis Milford
Insight Theatre Company

Oliver! is the classic musical, based on the Charles Dickens novel Oliver Twist, that tells the story of an earnest young orphan who escapes life in a workhouse to explore life in 19th century London, eventually falling in with a gang of child pickpockets led by the devious and charming old scoundrel Fagin.  Featuring memorable characters like the Artful Dodger, Nancy and the villainous Bill Sikes, Oliver! has been produced many times over the years on Broadway, in London’s West End, and in various regional and school productions over the past few decades, in addition to its adaptation into the very well known and much-beloved Oscar-winning film. I had been looking forward to seeing Insight Theatre Company’s current production, because I had heard and read wonderful things about this theatre company, and this is a show I know fairly well. This is a company that often features some of the best of St. Louis theatrical talent, and I do wish to see more productions from Insight in the future. Still, it’s unfortunate to have to write that I was disappointed, but that’s what I have to do. While this production looks great and has several good points, for the most part I find it to be problematic at best.

To start with the good, I must say that from a purely visual perspective, this production looks stunning.  With a richly detailed unit set by Margery and Peter Spack, delightful costumes by Laura Hanson, and excellent atmospheric lighting designed by Seth Jackson, this show is a treat for the eyes. There’s also some excellent, energetic choreography by James Compton and Libby Salvia, and it’s in several of the ensemble numbers such as “It’s a Fine Life” and “Oom Pa Pa” and the second half of “Consider Yourself” that this production is at its best.  There are also some standout performances by Spencer Davis Milford as a particularly energetic and likable Artful Dodger (even if he does seem a bit old for the role) and, especially, Jennifer Theby-Quinn in a scene-stealing performance as opportunistic workhouse matron Mrs. Corney.  Ryan gives a generally appealing performance as Oliver, especially in his scenes with Dodger and Fagin’s gang. There’s also a very convincing bond between Dodger and Nancy (Cherlynn Alvarez), which lends a degree of poignancy to some moments.

Even with this production’s strengths, I think they are overshadowed by its problems. First of all, the sound quality is very muddled.  It’s difficult to understand what many of the performers are saying or, in the solo musical numbers, singing.  Also, several of the leading performances strike me as confusing and oddly unfinished, coming across as more of a first run-through kind of characterization rather than a complete performance. Alvarez shows a lot of potential as Nancy, with a great voice and a very good rapport with the kids in the scenes in Fagin’s lair, as well as a very strong performance of “Oom Pah Pah” with the adult ensemble. Her most famous number, “As Long As He Needs Me” is mostly very good if lacking in volume.  Her stage presence, however, is hit-or-miss, and her later scenes are oddly paced and lack dramatic weight. Amoroso comes across more as an ineffectual bully than a truly menacing Sikes, as well, and Marc Strathman as the workhouse beadle Mr. Bumble lacks energy and presence, as do several of the other cast members. The most problematic performance, though, comes from Knoll as Fagin.  He performs the role with two very different voices, for one thing–a higher, reedy-sounding voice in some moments of the songs, and a somewhat lower voice for his speaking and some singing moments. This ends up sounding disjointed since he just jumps between the two sounds with very little attempt to blend them. His best moments are with his gang of pickpockets. “Be Back Soon” has its moments, especially, but his big solo “Reviewing the Situation” is just strange. The pacing is off and he even changes the melody and rhythm of parts of it, which is jarring and distracting.  He seems like an actor playing Fagin rather than simply the character.

I also find the overall pacing of the show to be uneven.  The first act ends abruptly and without the sense of suspense that the scene calls for, and all of the scenes between Nancy and Bill Sikes come across as rushed and unconvincing.  The climactic scene also seems cluttered and confusing, and two major character exits end up losing their dramatic impact as a result.  At other times, such as in the scenes with Mr. Brownlow (Troy Turnipseed), the pacing seems to drag.  The usually delightful “Who Will Buy” is a bit of a mess, as well.

While this production has its good moments and great visual appeal, overall I find it mostly unfulfilling, especially in the direction, pacing, and overall lack of energy among most of the leading performers.  Browsing through the production photos on the company’s Facebook page, I’m again struck by how vibrant this production looks. Unfortunately, that vibrancy is only superficial, and while there are some bright spots in this production, the overall impression is, sadly, one of style over substance.

Cherlynn Alvarez (center) and children's ensemble Insight Theatre Company

Cherlynn Alvarez (center) and children’s ensemble
Insight Theatre Company

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