Posts Tagged ‘ellie schwetye’

SATE and PPA Alumni Revisit “First Impressions” With Cleverly Staged Reading

Posted in St Louis Theatre, tagged , , , , , , , , on February 21, 2026| Leave a Comment »

First Impressions
An Adaptation of Pride and Prejudice by Jane Austen
Adapted by Ellie Schwetye
Directed by Ellie Schwetye & Rachel Tibbetts
PPA Alumni Theatre Company and SATE Ensemble Theatre
February 12, 2026

SATE and PPA Alumni Theatre Company recently offered audiences another impression of the award-winning Jane Austen-inspired work First Impressions at The Chapel, where SATE first debuted the show in 2017. Prison Performing Arts also staged a version at WERDCC in 2019, and video from both productions has been incorporated in the pre-show video for this latest version, billed as a “Fully Staged Reading Experience”. Although it was a reading, the staging was quite clever, and the use of actors live and on video contributed much in the way of humor and entertainment value. 

The premise is the same as before–an adaptation of Austen’s most famous novel Pride and Prejudice, interspersed with reflections from the cast about their experience with the novel and its various film adaptations. It’s been revised a fair amount since I saw the production in 2017, with more personal reflections and some more references to the 2005 filmed version of the novel. I was intrigued to note that several of the performers in this iteration stated that they hadn’t read the novel before working on this show, and so this production is their true “first impression”, although several others seemed to be longtime fans of Austen and the book, and issues discussed included favorite characters, comparisons of Mr. Darcy film actors, and the plot’s relevance for today. It’s a clever idea to adjust the reflections depending on the cast, which could work for future productions, as well.

The staging is crisp and lively, with fun use of the music stands used to hold the scripts the actors are reading from. The set by Bess Moynihan, who also designed the lighting, was whimsical and fun, featuring a video “portrait” in the middle of the performance area, featuring several cast members who recorded their performances in advance, including Patty Prewett as the imperious Lady Catherine DeBourgh, Hazel McIntire as scheming Caroline Bingley, Julie Antonic as Pemberley housekeeper Mrs. Reynold’s, and an especially fun turn by LaWanda Jackson and Janiece Moore giving running commentary and billed as “Statler & Waldorf”. Autumn Hales in a dual role as fourth Bennet sister Kitty and as Mr. Darcy’s younger sister, Georgiana The live cast was enthusiastic and memorable, as well, led by the excellent turns as Elizabeth Bennet and Mr. Darcy by real-life couple Alicen Kramer-Moser and Anthony Kramer-Moser. These two worked together well, exhibiting excellent stage presence and chemistry. There were also strong impressions made by Margeau Steinau and Eric Satterfield as Mr. and Mrs. Bennet, Hailey Medrano as the sweet eldest sister Jane Bennet, Miranda Jagels-Félix in a fun turn as middle Bennet daughter Mary, and Kristen Strom as the flighty, flirty Lydia. David Nonemaker as the somewhat silly Mr. Collins, Andre Eslamian in a dual role as the kind Mr. Bingley and rakish Mr. Wickham, and Victoria Thomas as Elizabeth’s practical-minded friend Charlotte Lucas also contributed much to the wit, humor, and fun of the production.

The rest of the technical elements were also strong, with notable distinction going to Brian Dooley and David Nonemaker for their excellent videography, and Dooley and Eric Satterfield for their video editing and projection design. The costumes by Tyler White and Kayla Lindsay featured a clever blend of Regency-era influence and modern style, and Ellie Schwetye’s sound design was also strong.

This show was, and continues to be, a fitting tribute to Austen’s classic novel and its fans over the generations. It’s a lively, versatile adaptation that works well in various formats, and I can easily imagine more iterations of it in various venues in the future. The only notable drawback to this production was that it only ran for one weekend, so more people didn’t get the chance to enjoy it. 

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NJT’s Heartfelt, Personal “Heidi Chronicles” is More Than a History Lesson

Posted in St Louis Theatre, tagged , , , , , on June 10, 2025| Leave a Comment »

The Heidi Chronicles
by Wendy Wasserstein
Directed by Ellie Schwetye
New Jewish Theatre
May 29, 2025

Joel Moses, Emily Baker, Will Bonfiglio, Ashwini Arora
Photo by Jon Gitchoff
New Jewish Theatre

I’ve been wanting to see Wendy Wasserstein’s The Heidi Chronicles since it won the Tony Award for Best Play and the Pulitzer Prize for Drama in 1989. Now, New Jewish Theatre has given me that opportunity with their excellent, impeccably cast, thoughtfully directed production now onstage at the J’s Wool Studio Theatre. A look at one woman’s experiences through academia and feminism from the 1960s through the 1980s, the play also serves as a compelling look at the experiences of a generation, as well as an education for those of us from succeeding generations. It’s more than a history lesson, though. It’s an intelligent, thought-provoking look at the changing times and a challenge for today’s world and future generations. 

The story follows art history professor and author Heidi Holland (Emily Baker), who we first meet as she’s teaching a class, with the audience as the students. Soon, however, the story flashes back to 1965, where young Heidi and her friend Susan (Kelly Howe) are at high school dance where Susan is eying an appealing unseen guy and trying to get the reluctant Heidi to find a dance partner. Heidi soon meets Peter (Will Bonfiglio), with whom she strikes up an instant rapport and with whom she develops a close bond. A few years later, Heidi is at a fundraiser for presidential candidate Eugene McCarthy when she meets charismatic journalist Scoop (Joel Moses), with whom she develops a rocky romantic relationship that eventually becomes a friendship when Heidi realizes she can’t deal with Scoop’s womanizing ways. These four characters interact through the decades, as Susan and Heidi become involved in various feminist causes, Peter comes out as gay and becomes a highly respected pediatrician, and Scoop starts an influential magazine aimed largely at the “Baby Boomer” generation of which all four characters are members. Over the years, their relationships evolve, the world changes and Heidi develops into the influential professor she eventually becomes, all the while searching for happiness and fulfillment in a world that sends conflicting messages to women about careers, motherhood, and “having it all”. Various other characters come into their lives, played by an excellent ensemble of performers (Courtney Bailey, Paola Angeli, Ashwini Arora, and Josua Mayfield) as Heidi and friends meet new people, interact with the media, and deal with the struggles of the 1960s, 70s, and 80s. 

The cast is marvelous, led by the impressive Baker as Heidi, a thoughtful academic who is looking for her place in a changing world while also trying to make it better for the women around her. Baker’s evolution from young, shy, and somewhat naive to older and reflective professor is highly credible, as are her bonds with her equally excellent costars. Bonfiglio is excellent as usual as the thoughtful, witty Peter, and Moses is a strong contrast as the charismatic, self-centered Scoop. Howe is also a treat as the ever-changing Susan, who eventually becomes about as 1980s “upwardly mobile career woman” as you can get without being a stereotype. These four form a strong core, while Bailey, Angeli, Arora, and Mayfield provide ideal support in various memorable roles. 

The whole vibe of this show is well realized by means of director Ellie Schwetye’s thoughtful staging and the overall “documentary” style theme, with an excellent movable set by Patrick Huber and vivid projections by Kareem Deanes. There’s also memorable period music that goes along with the projections, featuring recognizable hits of the times. Huber’s lighting and Schewtye’s sound design also help set and maintain the theme and tone, as do Michele Friedman Siler’s strikingly detailed costumes. If you lived through any of these decades (and I lived through two of them), you should recognize the look and feel of the eras. 

The Heidi Chronicles may seem a bit dated as a script to today’s audiences, but this production makes it as timely, immediate, and personal as I can imagine. Even if you’re not a Boomer you should find something informative and relatable here. I’m Gen X and I remember these times from a different perspective, although this show does a great job of presenting the “Boomer’s eye view” of these decades, and of the many ways American culture has evolved over the years–as well as ways it still needs to grow. This is an excellent, well-researched and performed production from New Jewish Theatre. 

Courtney Bailey, Paola Angeli, Kelly Howe, Emily Baker, Ashwini Arora
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting The Heidi Chronicles at the J’s Wool Studio Theatre until June 15, 2025

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Strong Performances, Clever Staging Breathe Life into “Lungs” at Albion

Posted in St Louis Theatre, tagged , , , , , on October 23, 2024| Leave a Comment »

Joel Moses, Nicole Angeli
Photo by John Lamb
Albion Theatre

Lungs
by Duncan Macmillan
Directed by Ellie Schwetye
Albion Theatre
October 17, 2024

As I think about it, I don’t think the title of the play is ever spoken in the script of Albion Theatre’s latest production, Duncan Macmillan’s Lungs. Still, even though lungs aren’t actually mentioned specifically, the theme of breath, and the giving and sustaining of life–is highlighted in various ways throughout this simple but expansive story concerning a relationship in various stages. In Albion’s simply but thoughtfully staged production, the characters stand out especially due to the memorable performances of two outstanding local actors.

I was most familiar with Macmillan’s work because of his oft-performed one-person show Every Brilliant Thing, which I’ve seen staged locally by three different companies. Lungs expands the cast by one, as a two-hander featuring two characters identified only as M (Joel Moses) and W (Nicole Angeli), whose story begins in the middle of a life-altering conversation and continues through various situations and struggles over the course of a number of years. The characters are a dating couple who are considering the possibility of having a child, but that’s only the beginning. Throughout the course of the story, we see the conflicts and changing dynamics of their relationship and their lives, as well as both characters’ concern for the environment and revisiting the question of whether or not they are “good people”. Although there is a basic plot, and their are many ups and downs in their lives, the characters essentially are the story here, and even though there are some frustrating aspects of their personalities as well as a fair amount of stereotyping, the story is a strong showcase for two talented performers, who breathe life and energy into a story that seems like it could easily be a drag without ideal casting and strong direction.

Fortunately, this production has both of those key elements, and some simple but elegant staging and technical aspects that add to the drama. Angeli, as the often overthinking W, and Moses, as the insistently optimistic but impatient M, are both remarkable, presenting a credible and fascinating relationship of flawed characters who make the audience root for them despite some of their more frustrating actions. The emotional range an chemistry add to the drama, and both performers work together with expert ability and presence.

The set by Erik Kuhn is simple and clever, with three wooden platforms arranged at different angles. Tony Anselmo’s lighting adds much to the atmosphere and the building sense of tension in the story, Ellie Schwetye’s sound design is effective, and Tracy Newcomb’s costumes suit the characters well. 

Lungs is an intriguing story, well told and especially well acted at Albion Theatre. It’s a show I hadn’t seen before, and this is an excellent introduction. It’s another fascinating work from one of St. Louis’s newer theatre companies that is continuing to make an indelible impression on local audiences. 

Nicole Angeli, Joel Moses
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Lungs at the Kranzberg Arts Center until November 3, 2024

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Insightful, Cleverly Constructed “See You In a Minute” Makes a Profound Impression for Contraband Theatre

Posted in St Louis Theatre, tagged , , , , , on October 19, 2023| Leave a Comment »

See You In a Minute
by Jacob Juntunen
Directed by Ellie Schwetye
Contraband Theatre
October 14, 2023

Joseph Garner, Ricki Franklin
Photo by Phillip Hamer
Contraband Theater

It was inevitable that plays about the COVID-19 pandemic would happen. There have already been online plays and stories concerning this world-changing event, and with live theatre back in full swing, it only stands to reason that plays about the pandemic would start to appear more often. The only problem is, the relatively new (to St. Louis) Contraband Theatre has now set the bar so high with its latest new play that I’m not sure how anyone else will be able to measure up. I welcome the efforts, but Jacob Juntunen’s See You In a Minute is at once a reflection, a character study, a mildly science fiction-y exploration, and a portrayal of various levels of grief that I’m not sure can be matched. It’s that good, and as produced at The Chapel arts venue by an excellent cast under the direction of the always-excellent Ellie Schwetye, this show has made such an impression on me that I’m sure I will be thinking about it for some time. 

This play isn’t just about one pandemic, though. It’s about the next pandemic as well–in 2041. Kathryn (Ricki Franklin) is the educational director for an off-Broadway theatre company in New York, but she’s come home to St. Louis to help her parents during the new health crisis. Her dad, Joseph (Joseph Garner), is a playful, encouraging guy who offers his daughter sandwiches and plays childhood games with her involving stuffed animals used as puppets. Her mother, Deb (Kelly Howe), is a more practically-minded engineer who wants to focus on the immediate situation and not dwell in the past. There’s obviously something about the last pandemic, and the family’s experience at that time, that Kathryn isn’t able to get straight answers about, but there are other, more pressing situations in her life, as well. Her director in New York, Kris (Joshua Mayfield) is concerned that Kathryn hasn’t finished her presentation/sales pitch for high schools about the company’s upcoming production of the classic play Our Town by Thornton Wilder. Kathryn, for her part, is struggling to find the century-old play’s relevance in modern times, and she keeps finding convenient ways to procrastinate while Kris, under increasing pressure from the theatre company’s board, grows ever more anxious. 

There are a lot of issues being dealt with here, but nothing seems rushed or cluttered. Issues of artistic integrity vs. financial struggles in theatre, generational differences, pandemics, grief, and family responsibilities, among other issues, are dealt with with focus and clarity, as well as a degree of poetic elegance. There’s also an impressive balance between humor and drama, as well as some “twist” moments that are given just the right level of timing and weight to make their utmost impact. It’s a sensitive, insightful, theatrically literate, exquisitely emotional play that works especially well under Schwetye’s well-measured direction and with the superb efforts of the first-rate creative team, including set designer Caleb D. Long, Costume Designer Carly Uding, and especially lighting designer Morgan Brennan and sound designer Schwetye.

The staging is simple and efficient, with just the right level of emotional resonance, and the script is well-crafted, with a few surprises as well as some elements that are somewhat predictable to a point, but don’t play out exactly as they might. There are also some sci-fi elements since it’s set in the future–including scientific advances that make sense for the times–that are treated more as a simple matter-of-fact rather than major points of the story. 

As for the acting, it’s excellent. Franklin is engaging and relatable as Kathryn, making her various struggles and dilemmas believable and immediate, and her relationships–with both parents and with Kris–are especially credible. Garner is full of warmth and energy as the creative, encouraging Joseph–bringing a great deal of enthusiasm to the puppet shows in particular–and Howe is just as excellent as the more reserved but just as caring Deb. As Kris, Mayfield is thoroughly believable as a conflicted theatre director whose loyalties are challenged by circumstance. It’s a strong, cohesive ensemble that lends much emotional weight to the story.

See You In a Minute is at once timely, challenging, and ultimately hopeful. It’s a profoundly affecting theatrical experience, and an excellent introduction to the work of playwright Jacob Juntunen and Contraband Theatre. There’s so much else I could write, but I won’t because its best to experience it yourself. So far, it’s my favorite new play in St. Louis this decade. 

 

Joshua Mayfield, Kelly Howe, Joseph Garner, Ricki Franklin
Photo by Phillip Hamer
Contraband Theatre

Contraband Theatre is presenting See You in a Minute at The Chapel until October 28, 2023

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Hilarious Remix from SATE is Theatrical, “Palpable” Fun

Posted in St Louis Theatre, tagged , , , , , , , , , on August 23, 2023| Leave a Comment »

This Palpable Gross Play
A Kind-Of Midsummer Night’s Dream
Adapted from Shakespeare by Ellie Schwetye, with Lucy Cashion and Jimmy Bernatowicz
Directed by Lucy Cashion
SATE Ensemble Theatre
August 17, 2023

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

In considering the latest new production from SATE, the old adage “you write what you know” comes to mind, considering both the source material and the adaptation. It’s clear that this is a very “theatre-y” production, by theatre people, about theatre people, and probably best appreciated by theatre people. Still, even if you’re not an actor, director, or other theatre maker, this is a fun deconstruction that showcases its fine cast and is sure to provide much laughter and pondering. 

This show is more whimsical remixing from creatives who are known for this kind of thing, and they do it extremely well. Primary adaptor Ellie Schwetye and director Lucy Cashion (who also contributed to the adaptation) have both been involved with several productions that take established works and either re-examine them or turn them completely on their heads, and usually both. This one does both with an emphasis on the “turning on its head” element. Here, the characters and basic plot is taken from William Shakespeare’s A Midsummer Night’s Dream, but it’s not a straightforward telling of that story. Here, the story focuses mostly on Puck (Ross Rubright) and the “Mechanicals” (Kristen Strom, Andre Eslamian, Kayla Ailee Bush, Joshua Mayfield, and Anthony Kramer Moser)–the group of artisans and amateur actors who put on a play for a royal wedding. In this show, though, the play isn’t about Pyramus and Thisbe, but about the mixed-up lovers from the source play–Hermia, Lysander, Demetrius, and Helena.  Puck is involved here as “Robin Starveling”, growing more and more frustrated with the various attempts at “acting” from the group–from the overzealous and opinionated Bottom (Eslamian), to the unenthusiastic Flute (Bush), to the self-doubting newcomer Snug (Kramer Moser), to overwhelmed director Peter Quince (Strom). Puck has ideas about what to do about this problem, though, that somehow involve a sleeping drug commercial from a few years ago. Meanwhile, Puck also has his fun with an ongoing feud between fairy Queen Titania (Victoria Thomas) and King Oberon (Spencer Lawton), with the anticipated  result being switched up in clever and hilarious manner. 

My description of the show seems woefully inadequate, since I would spoil too much if I went into too much detail. Let me just say that a lot goes on here, from “actor-y” in-jokes to clever staging, and hilarious “behind-the-scenes” moments, as the play rehearsal happens on one plane on the stage, with the Titania/Oberon/Puck hijinks happening mostly in the background. The cast is marvelous, as well, led by Rubright in a self-assured performance as the charming and somewhat smug Puck. Everyone is excellent though, so it’s difficult to single anyone else out. The ensemble chemistry is brilliant, and the staging is precise and well-timed. It looks great, too, with a fantastic set by Schwetye and Cashion, delightful costumes by Liz Henning and props by Rachel Tibbetts, and strikingly atmospheric lighting design by Erik Kuhn. There’s also a memorable music score and sound design by Joe Taylor. 

This is SATE, so I was expecting clever, unique, and unusual, and that’s what This Palpable Gross Play provides, with a lot of enthusiasm and personality. It’s one of those shows that might benefit even more from repeated viewings, considering how much is going on in one place. It’s another fun, thoughtful show from this excellent local company. 

 

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting This Palpable Gross Play at The Chapel until September 2, 2023

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New Jewish Theatre’s Poignant, Hopeful “Brilliant Thing” Features Strong Central Performance

Posted in Uncategorized, tagged , , , , , on March 18, 2023| Leave a Comment »

Every Brilliant Thing
by Duncan Macmillan, with Jonny Donahoe
Directed by Ellie Schwetye
New Jewish Theatre
March 16, 2023

Will Bonfiglio
Photo by Jon Gitchoff
New Jewish Theatre

Every Brilliant Thing is a popular show. The latest staging, from the New Jewish Theatre, is the third production of this show I’ve seen in St. Louis since it debuted here with another theatre company in 2018. I think it’s popularity stems from a few factors–its simple production values which don’t require a large budget, its relatable subject matter, and its ability to showcase a strong, personable central performer. While this current production, directed by Ellie Schwetye and starring the always excellent Will Bonfiglio, is certainly the most polished production I’ve seen from a technical standpoint, it still maintains that inherent simplicity, audience interaction, and focus on its lead character that makes it such a memorable–and, considering its sometimes heavy subject matter–an ultimately hopeful show. 

The setup here in NJT’s versatile space at the J’s Wool Studio Theatre is simply but elegantly appointed, designed by Bess Moynihan with a flair for setting an approachable, warm and inviting initial mood–and this atmosphere helps to provide balance in the show’s darker moments. Moynihan’s lighting is also especially effective, as Bonfiglio, suitably outfitted by costume designer Michele Friedman Siler in jeans, a casual button-down shirt and comfy sneakers, tells the story as a version of himself, as is the norm for this play. There’s a soft rug and a raised platform on one end of the stage where there’s a chair, and old-fashioned record player, and a box of records, which play into the story that is well-punctuated by various songs in the moments that call for them. Also, dangling from the ceiling is a collection of notecards suspended by wires, featuring various “brilliant” things about life, whether they be objects, people, experiences, etc. The audience members are given notecards, as well, and called upon to read items from Bonfiglio’s list as he calls their numbers.

The story, told as if it happened to Bonfiglio himself, recounts his childhood growing up with a chronically depressed mother, and the list of brilliant things starts out as his way to try to cheer her up. Over the years, as he grows up, the list gets longer and takes on new meanings, as Bonfiglio tells of his relationship with both of his parents, as well as meeting a romantic partner in college, and his on-and-off writing of the list as he struggles to deal with his own emotions and reactions to his mother’s condition as well as relating to the world around him. Bonfiglio gently calls on various audience members to participate in his story, playing a school teacher/counselor, his dad, a college professor, and his love interest, among others. Bonfiglio handles this aspect of the role especially well, and at least two of the “guest performers” I saw were notable local actors, which suggests that at least in some cases, Bonfiglio was choosing people he already knew to some degree, although I don’t think this was the case with everyone he chose. 

One of the most appealing aspects of this show is that it’s so easily tailored to the particular performer who stars, and with Bonfiglio, it works especially well. Director Schwetye, who has worked with Bonfiglio before with great success at NJT with Fully Committed in 2019, has paced this show ideally, allowing Bonfiglio’s warm, engaging and occasionally unpredictable personality to shine forth in moments of humor, sadness, reflection, and ultimately hope. Bonfiglio is especially adept as holding the audience’s attention, and encouraging participation while not seeming too pressuring. The arc of the story, while familiar to anyone who has seen other versions of this show, gains a degree of immediacy with Bonfiglio in the lead.

I have seen this show three times now, and each time I’ve seen something new and challenging, but the emphasis has always been on hope. At NJT, Bonfiglio, Schwetye, and the creative team have constructed an elegantly staged, dare I say brilliant production. It does contain difficult subject matter, including depression and suicide, but it is handled with great sensitivity and poignancy. It’s a superb showcase for an excellent and beloved local performer. It’s a brilliant thing, indeed. 

Will Bonfiglio
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Every Brilliant Thing at the J’s Wool Studio Theatre until April 2, 2023

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West End Players Guild’s “Christians” is a Thought-Provoking, Semi-Immersive Experience

Posted in St Louis Theatre, tagged , , , , , on December 5, 2022| Leave a Comment »

The Christians
by Lucas Hnath
Directed by Ellie Schwetye
West End Players Guild
December 4, 2022

Rachel Hanks, Joel Moses, Joseph Garner, Michael Byrd, Chrissie Watkins
Photo by John Lamb
West End Players Guild

The West End Players Guild has the ideal venue for their latest play. While their productions are usually presented in the basement of the Union Avenue Christian Church, their latest production is using the sanctuary. This is fitting, since Lucas Hnath’s The Christians is about a church, and the overall effect of this location creates something of an immersive experience for the audience, with the director, Ellie Schwetye acting as a greeter before the show, and taking “prayer requests” from attendees as they arrive. There’s also church music playing over the speakers before the show. It feels so much like a church service, in fact, that I accidentally referred to it as “the service” instead of “the play” to my husband after the show. The immersive quality adds a lot to he presentation, but the show itself–and especially this production with it’s excellent cast and direction–is compelling enough to stand on its own even without the extra “churchy” elements added by venue. 

The story begins in what appears to be a typical Sunday service at an unnamed non-denominational Evangelical megachurch. Pastor Paul (Joel Moses) is preaching a sermon that, at first, seems to mostly be about the history of the church and how much the congregation has grown over the past twenty years, and how the church has recently paid off the loan they took to build their current building. He then drops a bombshell, telling his congregation of a recent radical change in his theology, informing them that he no longer believes in the existence of hell, or that people with other religious beliefs can’t go to heaven. This causes something of an uproar in his congregation, first putting Paul at odds with Associate Pastor Joshua (Joseph Garner), and eventually with others in the church, represented by supportive but concerned Elder Jay (Michael Byrd), conflicted church member Jenny (Chrissie Watkins), and his own wife, Elizabeth (Rachel Hanks), who was surprised by the announcement and finds herself in a dilemma of her own as a result. 

Whether you’re familiar with church services or not, this show provides a lot to think about beyond the basic presentation, and the playwright has admirably presented the various “sides” with a reasonable degree of fairness. The dilemmas presented are real ones, and they are treated with due seriousness here. I had been half-expecting a parody, but that’s not at all what this is. It’s a straightforward drama that presents fully realized characters that all have their flaws and virtues–there are no caricatures here, which is refreshing. The issues presented could be talked about in a much longer essay, but I will focus on the production itself for the sake of brevity. Still, no matter what you believe about God, Christianity, or the concept of hell, this story is compelling, and sure to provoke much thought and discussion. Also, beyond the theological issues, there are issues of ethics raised by various situations, such as Paul’s decision to surprise his congregation, his staff, his elder board, and even his family with his change in belief. It’s a multi-layered, fascinating play, and it would take too long to cover all the issues it raises, although one importance aspect of theatre is to make audiences think, and this play certainly does that.

It’s a well-paced, impeccably cast play, with no weak links in the cast. All the performers turn in memorable, nuanced performances, led by Moses as Pastor Paul, ably portraying the character’s personal charisma along with a degree of self-focus and smugness, as well as an obvious concern for his congregation, and for his wife. Garner as Joshua is also memorable, delivering an emotional performance that is intense but not over-the-top.  Hanks has little to do but sit and react for the first half of the play or so, but when she finally does have a conversation with Paul, it packs a credible emotional punch. There are also strong performances from Watkins as the conflicted Jenny and Byrd as the increasingly concerned Elder Jay.

Technically, there isn’t an elaborate production because of the venue, with the use of a real church sanctuary negating the need for a constructed set. This sanctuary is equipped with theatrical seats and lighting, though, since it’s also the home of Union Avenue Opera. The lighting by Catherine Adams, and sound and projection design by director Schwetye contribute well to the overall mood and tone of the production. 

This is a play that, overall, seems designed to get people thinking, and talking–and this production is ideally staged to do just that. The issues brought up here are timely and relevant, and the performances grounded and credible. It’s an impressive, semi-immersive production.

Chrissie Watkins, Rachel Hanks, Joel Moses
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting The Christians at Union Avenue Christian Church until December 11, 2022

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Midnight’s “Tinsel Town” Takes an Entertaining Trip to Hollywood

Posted in St Louis Theatre, tagged , , , , , , on December 7, 2021| Leave a Comment »

Tinsel Town
by Joe Hanrahan
Directed by Rachel Tibbetts
The Midnight Company
December 2, 2021

Joe Hanrahan, Ellie Schwetye
Photo by Joey Rumpell
The Midnight Company

Los Angeles, California is like no other place on earth, both in its near-synonymous association with the entertainment business and with a specific form of quirkiness. The Midnight Company’s latest production, Tinsel Town, is a suite of interconnected short plays that highlight the unique aspects of this area and with entertainment culture in the age of the pandemic. Showcasing two excellent performers, the show is a fun, alternately hilarious, critical, and insightful look at showbiz personalities and the town in which they live, work, struggle and thrive.

The show is three plays in one, with its two performers, Joe Hanrahan and Ellie Schwetye, each playing a different role each time, although the stories are connected in that they are set in the same “world” representing a day in L.A. and various aspects of the entertainment industry, and through Schwetye’s three characters, who each mention the others and who are working on a film project together. Even with these connections, though, the plays vary sharply in tone, from the broad comedy of the first segment: “Late Lunch on Melrose 1:30pm”; to the more humor-tinged drama of the second segment: “Just Off Sunset 12:15am”; and finally to more lighthearted comedy with the third segment “Shoot in Santa Monica 12:40pm”. Each looks at “the business” from a different angle, highlighting both positive and negative aspects of the L.A. and showbiz life, particularly in the movie and music industries. The plays also all deal with artists experiencing various transitions in their careers, as Schwetye’s demanding movie star Beverly Montclair deals with maybe not being considered “A-list” anymore, and getting offered different roles than she’s used to by her longtime agent Bobby Daniels (Hanrahan) in the first segment; veteran singer Teenah Davis (Schwetye), who is trying to restart her career with a new band after some struggles, has a potentially fortuitous meeting with also struggling longtime session guitarist Hank Riley (Hanrahan) in an alley behind a club after a show in the second segment; and longtime British stage actor Richard Hoffman (Hanrahan) deals with nerves and cultural adjustment issues as he works on his first Hollywood film shoot–for a sci-fi epic featuring villainous “space vampires”–with aspiring director Susan Dmitri (Schwetye) in the third segment.

The performers here adjust impressively to the shifts in tone between the pieces, with both–and especially Schwetye–gleefully hamming it up in the hilariously over-the-top first act, as Hanrahan’s fun script cleverly skewers the stereotypical “Hollywood” atmosphere and demonstrating the versatility of the word “darling”. Both performers also find much poignancy in the melancholy but hopeful second segment, and then deftly return to a slightly more gentle brand of comedy in the third vignette, as Hanrahan’s examination of the L.A. life trends back to the goofy side, but still maintaining a sense of hope. It’s a fun show, overall, showing off the considerable talents of its two leads, as well as their versatility and sense of timing.

The L.A. atmosphere and “Hollywood” vibe are well-maintained throughout by use of excellent mood-setting music in the interludes between shows, and by Erik Kuhn’s excellent lighting and minimalist set, as well as top-notch video design by Michael Musgrave-Perkins. The costumes by Elizabeth Henning are also impressive, and suit the characters especially well. Overall, this is a well-paced, superbly cast, especially memorable look at a day in the life of one of the more celebrated–and parodied–cities in the United States, and in the world. 

Ellie Schwetye, Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting Tinsel Town at the .Zack Theatre until December 18, 2021

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Bonfiglio Gives “Fully Committed” Performance in New Jewish Theatre’s Hilarious Production

Posted in St Louis Theatre, tagged , , , , , , on December 12, 2019| Leave a Comment »

Fully Committed
by Becky Mode
Directed by Ellie Schwetye
New Jewish Theatre
December 5, 2019

Will Bonfliglio
Photo by Jon Gitchoff
New Jewish Theatre

One person shows are difficult enough, I would think. Still, when that one person is playing a multitude of characters all in the course of approximately 80 minutes, that seems especially challenging. Will Bonfiglio, as a performer, is no stranger to one person shows, winning critical acclaim, but now he’s taking the challenge to the next level in New Jewish Theatre’s latest production, the quick-paced, multi-character comedy Fully Committed. In fact, that title is an apt description for Bonfliglio’s performance, as he shows off his comic and dramatic abilities with impressive versatility and timing.

Bonfiglio showed his versatility playing multiple characters a few years ago in Stray Dog Theatre’s production of Buyer and Cellar. This time, he’s in a differently structured show and playing a lot more characters, and he’s just as stellar. In fact, his feat might even be more impressive considering how quick-moving playwright Becky Mode’s script is, and just how fast the transitions are between the 40-ish different characters Bonfiglio plays. He’s not narrating here, as he was in the show at SDT. Here, the play throws us right into the action as out-of-work actor Sam (Bonfiglio) is working the reservations desk at a highly trendy New York restaurant. The play is structured as such that at first, we are “meeting” so many different characters–difficult customers, restaurant staff, the personal assistants of celebrities, Sam’s friends and family–that we don’t really get to know Sam very much, until his personality and goals are gradually revealed through his various phone conversations. We are allowed to become invested in Sam’s situation as we experience his difficult job along with him, and as he is “encouraged”/taunted by his acting friend/rival Jerry and too-politely avoided by his agent, we see what his real passion is–acting, as he waits to hear the outcome of a recent audition. We also learn of his desire to take a few days off to spend Christmas with his father and siblings, and how that hope is variously ignored and treated as an inconvenience by some of his co-workers. We also get to the see the contrast between how he is treated by co-workers, relatives, friends, and strangers alike, as his day gets busier and busier and occasional respites come in the form of conversation partners who actually listen, realizing the person they are talking to is an actual human being and not merely an obstacle to their own goals. It’s a cleverly structured play that starts out as a simple series of conversations and eventually becomes a story told through those conversations. It’s also hilarious, with fast-paced comedy and broadly drawn characters that give the excellent, versatile Bonfiglio a lot to work with, and he never ceases to impress as he conveys the story, reveals Sam’s distinct character, and manages to become a host of contrasting characters consistently throughout the production.

Although in a real sense, Bonfiglio is the show, he is also ably supported by the top-notch technical aspects of the production. David Blake’s detailed set brings the audience into a vividly realized restaurant basement, which becomes something of a symbol of Sam’s reluctant confinement. There’s also excellent lighting by Elizabeth Lund and sound by Kareem Deanes that contribute to the overall tone of the production. Director Ellie Schwetye’s staging makes excellent use of the whole performance space, as well.

This is one of those shows that provide a prime showcase for a talented performer, and Will Bonfiglio certainly makes the most of that showcase with his excellent timing and winning stage presence. It’s a hilarious show that introduces the audience to a variety of characters, from accepted “types”–the gruff, pompous celebrity chef, the overworked staff, the demanding celebrities, and more–but also reveals a fair amount of depth in the course of a relatively short intermissionless show. There are a lot of laughs here, certainly, but there’s also a clear glimpse of humanity. It’s a gift of a show for the holiday season.

Will Bonfiglio
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Fully Committed at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until December 22, 2019

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Midnight’s Well-Cast “Model For Matisse” Educates, Entertains

Posted in St Louis Theatre, tagged , , , , , , on September 27, 2019| Leave a Comment »

A Model For Matisse
by Barbara F. Freed and Joe Hanrahan
Based on the Documentary Film Written and Directed by Barbara F. Freed
Directed by Ellie Schwetye
The Midnight Company
September 19. 2019

Rachel Hanks, Joe Hanrahan
Photo by Todd Davis
The Midnight Company

Joe Hanrahan’s Midnight Company has been known mostly for its one-man shows starring Hanrahan, although occasionally they have done some works with two or more performers. The company’s latest offering, A Model For Matisse, signifies a collaboration for Hanrahan in more ways than one, since he is not only the co-star but also the co-writer of the piece. It’s a fact-based exploration of an important relationship in the life of a well-known 20th Century artist, as well as other intriguing issues that arise from that friendship. It’s a well-cast production and a well-chosen subject, providing not just entertainment but also education for its audiences.

According to the press materials for the show, Hanrahan sought to create this play after seeing a documentary of the same name that was written and directed by Barbara F. Freed. After contacting Freed to get permission to adapt the film, Hanrahan not only got the rights; he ended up collaborating with Freed on the script, which has now had its world premiere with this production. It tells the story of the later years of famed French artist Henri Matisse (Hanrahan), and his significant friendship with the young nursing student Monique Bourgeois (Rachel Hanks), who modeled for several of his paintings and later joined a Dominican order of nuns and became Soeur Jacques-Marie. The play also covers the design and construction of the Chapel of the Rosary in Vence, France, for Soeur Jacques-Marie’s order. The sister and the artist worked together on the project, with the sister serving as a significant consultant and source of inspiration. The story shows the development of the relationship and the conflict between both characters’ different outlooks on life, which serves as reflection of the overall conflict between the influences of traditional religious views and the increasing influences of modernism in Western culture in the mid-20th Century.

The show is a fascinating portrayal of two contrasting characters and the close bond they form. It also serves to highlight the work of Matisse for those for whom the artist’s work–and especially his later work–isn’t especially familiar. The casting is ideal, with Hanrahan bringing a warmth and thoughtfulness to his role as the ailing, occasionally disillusioned but increasingly determined Matisse, and Hanks bringing likable energy to her role and also providing compelling narration to the story as it unfolds. Their story is fascinating and informative, aided by an excellent technical production including stellar projection design by Michael B. Perkins, as well as excellent costumes by Liz Henning and sound design by director Ellie Schwetye, and evocative lighting by Tony Anselmo. Schwetye’s staging is well-paced and inventive, as well, making for a memorable, informative and relatable production.

Although I had heard of Henri Matisse before seeing this show, I didn’t know this particular story, and I suspect a lot of people seeing this play would be in the same position. This show, with an intelligent and lively script from Freed and Hanrahan, sheds light on a perhaps less-known aspect of the artist’s life, bringing to light an important friendship that had a profound influence on him. These two characters are brought to life with clarity by the show’s ideally cast lead performers, providing a fascinating look at art, artists, European life in the mid-20th Century, and more.

Rachel Hanks, Joe Hanrahan
Photo by Todd Davis
The Midnight Company

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