12th Annual LaBute New Theater Festival
St. Louis Actors’ Studio
July 10, 2026
St, Louis Actors’ Studio’s latest installment of their LaBute New Theater Festival is on stage at Gaslight Theatre, shining its spotlight on twists and turns in various relationships. There are six plays on offer this time, with two directors helming three each–Eric Dean White and Wendy Renée Greenwood. There are also strong technical elements, with a versatile set of movable pieces by Patrick Huber, as well as well-suited costumes by Amanda Brasher, lighting by Patrick Huber, and sound by STLAS, Eric Dean White, and Wendy Renée Greenwood. As for the plays themselves, here are some thoughts:
“Junk Drawer”
By Erin Fitzgerald
Directed by Eric Dean White
Tyler Crandall, Xander Huber, Jade Cash
Photo by Patrick Huber
St. Louis Actors’ Studio
This one is a cute comedy featuring elements you might find in the ubiquitous junk drawer, including Chip (Xander Huber), Penny (Jade Cash), Mark (Tyler Crandall)–a marker–and Boot Strap or “BS” (Anthony Wininger), who wax philosophical about their times before being relegated to the infamous drawer, and imagine what would happen to them if they managed to escape. It’s a fun show, with strong ensemble chemistry and enthusiastic performances all around. I don’t think there’s anything profound going on here, but it’s a pleasant, funny show that entertains.
“Go Fish”
by Cameron Michles
Directed by Wendy Renée Greenwood
Nick Barrows, Caitlin Mickey
Photo by Patrick Huber
St. Louis Actors’ Studio
Shifting from comedy to drama, this play features a reunion of old acquaintances with an emotionally charged tone. Whittaker (Nick Barrows) and Chloe (Caitlin Mickey) meet up in a “neutral” space at student Whittaker’s university, with the appointment requested by Chloe, although Whittaker is obviously uneasy about the meeting. There isn’t much I can say here without spoiling, but I will say that it involves a past incident that Chloe is seeking forgiveness for, although Whittaker, for several good reasons, is reluctant to grant it. He also challenges Chloe’s motives, as both reveal aspects of their lives since they last saw one another, and the purpose of the visit is eventually revealed, perhaps a little late for dramatic effect.
This is an especially well paced and well acted production, with both performers at their best. They also play off of each other especially well, with crackling tension and believable animosity. It’s one of the shows that sticks with me the most of this set.
“The Resurrection Men”
by Nicholas Dunn
Directed by Eric Dean White
Anthony Wininger, Xander Huber
Photo by Patrick Huber
St. Louis Actors’ Studio
Taking from history, this play follows two grave robbers–Hatt (Anthony Wininger) and Fitz (Xander Huber)–who are trying to dig up a body to sell it to a doctor, Knox (Jade Cash), for dissection. Fitz is new to this, and has many objections, while the more seasoned and cynical Hatt is growing increasingly tired of Fitz’s objections. There are some interesting questions raised here as the two–and eventually Knox–debate the morality of what they are doing.
This is a somewhat talky entry that gets points for period atmosphere and clever use of the set pieces. All three performers are excellent, although Wininger’s affected accent sometimes makes him difficult to understand. It’s a thought-provoking piece, with a bit of a twist ending that surprises but also makes a degree of sense considering the characters.
“Brunch”
by Neil LaBute
Directed by Wendy Renée Greenwood
Jade Cash, Caitlin Mickey
Photo by Patrick Huber
St. Louis Actors’ Studio
This is festival namesake Neil LaBute’s entry, and it’s a riveting one. A brunch meeting between two apparent friends, Candice (Caitlin Mickey) and Shasta (Jade Cash) takes an unexpected turn as their conversation develops. Candice takes a phone call from the police about a case in which she is involved, and she is joined by Shasta as the conversation is ending. I won’t say more about the plot, but I will say that the tension builds efficiently and believably here, with a gradual shift in tone that is chillingly effective. Both performers are excellent here, communicating much by way of body language as well as dialogue. It’s one of LaBute’s better festival offerings.
“Little Johnny Knows Things”
by John Pierson
Directed by Wendy Renée Greenwood
Nick Barrows, Xander Huber
Photo by Patrick Huber
St. Louis Actors’ Studio
This one returns to the realm of comedy, even if it is on the creepy side. This play follows Ryan (Nick Barrows), who is just trying to have a relaxing time in the park reading a book, when Brett (Xander Huber) appears and ends up sharing his park bench. Brett has also brought along a friend–“Little Johnny”, who is a ventriloquist’s dummy. While Brett explains learning the art of ventriloquism to Ryan, things take a bit of turn, although it’s not quite as creepy as it could be. It’s more “funny with a bit of a twist”, and I’m not sure if that was the intention. Still, both actors–and the dummy–are strong in one of the shorter entries in this year’s crop of plays.
“The Rules”
by Domenick Scudera
Directed by Eric Dean White
Tyler Crandall, Anthony Wininger
Photo by Patrick Huber
St. Louis Actors’ Studio
Finally, we get to go on a car ride with two very different brothers in this play, which has older, Long Island-proud brother Leo (Anthony Wininger) giving younger, out-and-proud brother Mario (Tyler Crandall) a ride from the airport on the occasion of their mother’s funeral. This story is a bit on the predictable side, but the characters are especially well drawn and portrayed, with excellent chemistry between the actors and strong dialogue. It’s an entertaining way to close out the festival, and a strong examination of a broken relationship that clearly needs mending.
Overall, it’s a strong collection of plays in this year’s festival, and worth checking out if you’re up for some insightful, sometimes intense and sometimes humorous stories that highlight various relationships.
St. Louis Actors’ Studio is presenting the 12th Annual LaBute New Theater Festival at the Gaslight Theater until July 26, 2026