Posts Tagged ‘first run theatre’

First Run Explores Relationship Drama in Promising New “Deposition”

Posted in St Louis Theatre, tagged , , , , , on November 21, 2025| Leave a Comment »

Deposition
by Amy Hanson
Directed by Taijha Silas
First Run Theatre
November 15, 2025

Abbie Thornton, Nachalah “Catie” Duclerne, Amie Bossi, Deb Dennert, Ryan Lawson-Maeske, Bill Burke
Photo: First Run Theatre

First Run Theatre’s latest premiere production, Deposition, explores a fractured relationship from various sides. With clever use of flashbacks and fantasy sequences, the show presents an intriguing look at the end of a marriage as well as repeated patterns in the husband’s relationships. Although the production itself has its ups and downs, for the most part this is an intriguing and promising new work featuring several memorable performances.

Acrimonious divorces are the fodder for many popular stories, from Kramer vs. Kramer  to Divorce Court and more, spanning genres from comedy to drama to “Reality TV” and beyond. This show, currently being staged at the Kranzberg Arts Center under the direction of Taijha Silas, seems to be largely in the vein of “dramedy”, with serious moments punctuated with some sharp humor. The story follows long-married couple Jackson Fields (Bill Burke) and his soon-to-be ex-wife Lucy Fields (Ami Bossi), who are working with their attorneys (Deb Dennert as Lucy’s lawyer, Ryan Lawson-Maeske as Jackson’s), with famous writer Jackson hoping to be able to reach a settlement before the case can come to trial. Lucy, however, apparently has other plans, hoping to raise issues of patterns in Jackson’s behavior and relationships, and she is obviously angry and hurt. The set-up is fairly straightforward, taking place in a law firm conference room, but there are clever conceits that help to tell the story beyond the basic “he said, she said” bickering. Through the use of flashbacks and fantasy sequences, a more clear picture of the roots of this fractured relationship are explored, especially from Jackson’s point of view.

It’s an intriguing character exploration, although there are a few elements that could be worked on. For instance, I understand the “double casting” convention in which characters from Jackson’s past are played by actors who also play characters involved in the deposition, like the Court Reporter/Young Lucy (Abbie Thornton), Jackson’s Attorney/Young Jackson, Legal Assistant/Zadie Martin (Nachalah “Catie’ Duclerne), and Guardian ad Litem/Suki (Carmen Russell), but some of the legal characters–especially the Guardian ad Litem–aren’t given much to do and come across as plot devices more than characters. Also, while the lead characters have intriguing moments, the focus here is primarily on Jackson, which isn’t a problem in itself although Lucy’s character isn’t quite as developed as it could be.

The flashbacks and fantasy sequences are the real highlight here, especially a scene later in the play that features Jackson’s first wife Suki and former student Zadie. This scene is the best moment for Burke’s self-centered but occasionally charming Jackson, and also highlights strong performances from Duclerne as Zadie and especially Russell–the biggest standout in the cast–in a scene-stealing role as Suki, whose appearance is powerful and revelatory, carrying much of the show’s emotional weight. There’s also a fine performance by Dennert as Lucy’s attorney, and Bossi does well with the difficult, somewhat underwritten role of Lucy, although both of these performers have moments of muffed lines that I hope will be improved as the performances continue. Lawson-Maeske is impressive in a versatile turn as Jackson’s smarmy lawyer and as the younger Jackson in a flashback, well-matched with Thornton as the younger Lucy in the early days of their relationship. 

The set by Brad Slavik is fairly basic, but effective, with a realistic recreation of a law-office conference room and a set-off area to the side where most of the flashbacks take place. The lighting by Joel Wilper is especially effective in the fantasy sequences, and there’s also fine work from sound designer Jen Ciavarella. Tracey Newcombe’s costumes outfit the characters well, suitably reflecting their personalities. 

For the most part, Deposition is a cleverly structured story that held my attention more than I had expected, since I often tend to find divorce dramas depressing and overdone. This one finds angles for intrigue and character exploration that can be further developed with some more work, although this production from First Run is a fine showcase with a good cast. Although some of the characters–especially Jackson–aren’t especially likable, this play has done a good job of making them interesting. It’s a work in progress, but with strong potential. 

Carmen Russell, Bill Burke
Photo: First Run Theatre

First Run Theatre is presenting Deposition at the Kranzberg Arts Center until November 23, 2025

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First Run’s “Details” is a Low-Key, Well-Cast Look at Lonelines, Loss, and Personal Connection

Posted in St Louis Theatre, tagged , , , , , on August 8, 2025| Leave a Comment »

The Details
by James Larson
Directed by Darrious Varner
First Run Theatre
August 1, 2025

Jaz Tucker, Bill Burke
Photo: First Run Theatre

First Run Theatre is focused on staging new plays by Midwestern playwrights. Their latest production, The Details by James Larson, is a somewhat low-key, intimate look at a new and unexpected relationship between two neighbors. As staged at Kranzberg Arts Center under the direction of Darrious Varner, the play served as a showcase for a pair of fine performances, and there are interesting characters and some good ideas, although it did come across as somewhat talky with little in the way of action.

In this show, lonely widower Mr. Hoffmann (Bill Burke) is home alone, talking to his late wife as if she is still there, and the sense of her absence is lingering. There are pictures on the bookcase and other remnants that suggest a couple had lived here for a long time. Hoffmann goes about his evening in a matter-of-fact manner, then goes upstairs. Soon, there are knocks on the door, and Hoffmann doesn’t answer. The knocker, neighbor Bucky Jackson (Jaz Tucker), notices the door is unlocked and lets himself in, whereupon he is soon discovered by Hoffmann and a confrontation ensues that leads to a series of revelations, reflections, and challenges covering the areas of loneliness, loss, various types of dependence, and perhaps most of all, the longing for community.

Although the script is slow moving and rather talky, and there isn’t a lot of action, the performances make the story interesting. Both actors have a measured air of relatability and secrecy, and their guarded attempts at reaching out toward one another give this play its emotional weight. Tucker, as the initially more outgoing Jackson, has a likable presence, making his personal story credible as it unfolds and adding to a believable developing bond with Hoffmann’s equally intriguing but more reticent Hoffmann. The halting but surely developing sense of connection between these two is what gives this play its drama, and ultimately, its sense of hope despite some sad revelations. 

The production has a consistent look, with Brad Slavik’s set ably representing a long-lived-in suburban house. The costumes by Tracy Newcomb suit the characters well. There’s also fine work from Mike Gasaparich on lighting and Jenn Ciavarella on sound. The pacing is even and somewhat subdued, highlighting the performances, and although the show is on the slower side, it’s never boring. 

For the most part, I would say that The Details is a promising new play that could use a little work on dialogue and plotting, but that features a memorable character relationship that is well highlighting in this production. Its strongest point was clearly the acting, and the two leads are to be commended for creating and maintaining such a believable rapport. I’m curious to see where future revisions may lead this show.

Bill Burke, Jaz Tucker
Photo: Fly North Theatricals

 

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Well-Played Characters Tackle Serious Subjects in First Run’s Engaging, Somewhat Talky “Elephants’ Graveyard”

Posted in St Louis Theatre, tagged , , , , , on November 20, 2024| Leave a Comment »

Elephants’ Graveyard
by Marjorie Williamson
Directed by Rob Corbett
First Run Theatre
November 16, 2024

Jan Meyer, Gwrynneth Rausch
Photo by John C. Lamb
First Run Theatre

First Run’s latest premiere production, by local playwright Marjorie Williamson, takes on some serious subject matter and packages it in the form of relatable characters, especially for viewers of the Baby Boom generation. Elephants’ Graveyard focuses on two longtime friends with contrasting personalities, well-played by a pair of excellent local performers and featuring impressive production values for their small space. It’s a story that will provoke much in the way of thought and discussion about issues of life, death, friendship, and personal connection.

Although many of the issues dealt with here are universal, the theme here is very much Boomer-focused, using songs that people who came of age in the late 1960s would resonate with by artists like Bob Dylan, Joni Mitchell, Neil Young, and more. The characters–longtime friends Smitty (Jan Meyer) and Margaret (Gwynneth Rausch)–also talk much about their experiences in their younger years such as attending Woodstock, participating in Vietnam war protests and the sexual revolution, among other things. The two are both in their 70s and have much to look back on in their lives, but they are not sure what they will be able to look forward to. The more outgoing, well-traveled, amorously adventurous Smitty talks about not having the energy to live the life she’s had before, while the more “conventional” Margaret has recently lost her husband and is dealing with a cancer diagnosis. Margaret has lived a life full of family, friends, and obligations to others, while Smitty has lived more of a carefree adventurous life with few long-term attachments. Their friendship has endured despite their differences, and they both enjoy their regular “tea parties” at Smitty’s place, where they talk, reminisce, and drink. It soon becomes obvious, though, that the generally upbeat Margaret isn’t as well as she has been letting on, and Smitty has to deal with the very real prospect of losing her closest friend, while both women take stock of their lives and try to figure out what’s really important to both of them.

This is an intriguing story, and the characters are well-defined and engaging, although there isn’t much in the way of action. Most of the story is the two women sitting at a table and talking, although there’s much to talk about and, especially as presented by these two talented performers, it never gets boring. There are some moral dilemmas presented and much to think about in terms of end-of-life issues as well as the idea of what constitutes a life well lived. It’s alternately funny, heartwarming, heartbreaking, and poignant.

The connection between the friends is the highlight of the production, with richly portrayed characterizations by the excellent Meyer and Rausch, who both manage to convey many layers to their characters and motivations. The connection between the two is strong, and both have strong presence and energy. Rausch does a commendable job portraying a believable arc for Margaret, and Meyer gives Smitty a believable mix of cynicism and worldliness. This is a character-driven play, and the casting is essential to make it work. This production has hit a home run in that department.

The set, by director Rob Corbett, is impressively detailed, becoming something of a character in itself and reflecting Smitty’s personality and the changes in the seasons and the characters’ situations with remarkable clarity. There’s also excellent work from lighting designer Nathan Schroeder and sound designer Jenn Ciaverella in setting and maintaining the overall atmosphere and reflecting the characters, who are also impressively outfitted by costume designer Tracey Ann Newcomb in ways that reflect their personalities and character arcs.

There’s some difficult and occasionally intense subject matter here, dealing with sensitive and sometimes controversial issues revolving around illness, death, and reflections on personal life choices and relationships. It’s sure to provoke much in the way of thought and discussion. It’s well worth seeing for the strongly realized performances, and should be relatable especially to Boomers and those who are close to them. It’s an intriguing, promising new work given a strong production from First Run Theatre. 

First Run Theatre is presenting Elephants’ Graveyard at the Kranzberg Arts Center until November 24, 2024

 

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Three Memorable New Shows Feature Inventive Staging, Strong Casting

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , , , , , , , , , on November 28, 2023| Leave a Comment »

The fall-into-winter theatre season is in full swing in St. Louis. With the Holiday season starting up, and a host of new productions getting ready to open, there’s a feast of options on stage for theatre fans to enjoy. Here are short reviews of three recent productions–one recently closed, but two still running, that all feature strong casting and some clever staging, with two being literary adaptations, and one exploring the inner life of a struggling writer. 

Elektra: Elektra’s Version
Based on the play by Sophocles, translated by Anne Carson
Directed and Designed by Spencer Lawton
November 16, 2023

Maida Dippel (Center, on bed) and Cast
Photo: Critique Theatre Company

Director Spencer Lawton has brought together an enthusiastic cast for a new look at the classic Greek tragedy Electra as filtered through the lens of early 2010’s Tumblr culture and the Marina and the Diamonds Album Electra Heart. With some input from the cast and from local artist/director Lucy Cashion–who is known for these kinds of literary re-imaginings–Lawton’s production is a cleverly staged, well-cast show that provides much to think about, as well as making the most of its space at the fun new venue, Greenfinch Theater and Dive. 

The venue is great for this staging, providing a blank canvas of sorts on which the artists can present their vision. The cast, led by Maida Dippel as the brooding, vengeful Elektra, is in excellent form, with several of the actors playing more than one role. The ensemble is especially strong and cohesive, including Katie Orr, Victoria Thomas, Miranda Jagels-Félix, Celeste Gardner, Alicen Kramer-Moser, Laurel Button, and Emma Glose, with similarly costumed Ross Rubright and Anthony Kramer-Moser as “The Man Parade”. 

While there’s a lot going on here, and sometimes it could be hard to follow–especially at a point in which most of the cast members are speaking at once–this is a fascinating staging with a lot to think about, especially in terms of the often conflicting messages that society presents to teenage girls. It’s got drama, dark comedy, and lots of attitude, as well as a sense of social critique that seems fitting considering the name of this theatre company. The stylized look of the characters and costumes–influenced by the Electra Heart album–also contributes to the distinctive style of this show. 

It’s a compelling production, and I hope it has a life beyond the one weekend it played at Greenfinch. 

Q Brothers Christmas Carol
Based on the Novella by Charles Dickens
Written by Q Brothers Collective (GQ, JQ, JAX, POS)
Developed with Rick Boynton
Music Composition by JQ
Directed by Q Brother Collective (GQ, JQ, & JAX)
November 24, 2023

Garrett Young, Mo Shipley, Victor Musoni, Maya Vinice Prentiss
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The Q Brothers Collective has had a relationship with St. Louis Shakespeare Festival for a few years now, starting with their hilarious production of Dress the Part in early 2020. The Festival has now brought the Chicago-based company’s lively, hip-hop-influenced Q Brothers Christmas Carol to town in a memorable, eye-catching staging at the National Blues Museum downtown. With an energetic, musical staging featuring DJ Stank (Mel Bady) spinning the tunes, this is an update of a classic that brings a lot of humor, heart, and style.

With a cast of just four actors, this show’s comedy benefits a lot from all the quick changes and the fact that most of the actors are playing multiple characters. With Garrett Young as the miserly Ebenezer Scrooge, the story plays out essentially as expected, but with many modern twists and jokes. Young is especially effective as Scrooge, making the character’s journey believable, and working well with co-stars Victor Musoni, Mo Shipley, and Maya Vinice Prentiss, who each play a variety of roles, from the various ghosts, to townspeople, to figures from Scrooge’s past, present, and future. It’s a fast-paced show with a memorable musical score and a modern festive spirit. 

It’s also a great-looking show, with excellent costumes by Erika McClellan, scenic design by William Attaway, lighting by Jesse Klug, and sound by Stephen Ptacek. The staging is quick and lively, and the update is decidedly 21st Century, with a tone that I would characterize as PG-13-ish in terms of language and subject matter. It works very well in the space at the Blues Museum, with a themed bar set up for before the show. It’s a good way to start off the holiday season in a theatrical way.

St. Louis Shakespeare Festival is presenting Q Brothers Christmas Carol at the National Blues Museum until December 23. 

Leannán Sidhe
by Deanna Strasse
Directed by Sean Belt
First Run Theatre
November 26, 2023

Matt Hanify, Tanya Badgley
Photo by David Hawley
First Run Theatre

First Run Theatre’s mission of presenting world premiere productions of shows by Midwestern playwright’s continues, staging Milwaukee-based playwright Deanna Strasser’s play Leannán Sidhe, an intriguing look at the life of an ambitious playwright who, Strasser admits in the program notes, is based on herself. Directed by Sean Belt and featuring a small, effective cast, this is a well-staged production to which I think a lot of artists–and especially writers–may relate, even if they don’t go as far as the main character does in retreating into a fantasy that threatens to take over her life. 

Mya Sraid (Tanya Badgley) is a playwright whose life isn’t exactly going the way she would like it to, considering producers keep wanting her to write farces, and her friends all seem to want to bring her to productions of the same old plays because they know people in the cast and/or crew. Her house is a mess, as her friend Jessica (Amie Bossi) notices when she arrives for an outing to a production of The Music Man that Mya has been dreading, and the audience is made to wonder who that guy in the background is who is doing dishes seemingly without being noticed. After Jessica leaves, we find out that the “background guy” is actually Vincent Thane (Matt Hanify), an actor Mya saw in a recent production and has become obsessed with. Well, this guy isn’t actually Vincent, but an imaginary version of him that Mya has invented to be her fantasy lover and artistic muse. He’s there to be able to dance in the rain (produced at whim by Mya’s imagination) to Etta James’s “At Last” and spout encouraging words to her, admiring the always-full moon out the window and serve as inspiration for Mya’s latest play, which is a drama for once, and not a farce. Soon, though, we find that even the imaginary Vincent is starting to protest, and not behave exactly as Mya would wish, as Mya’s apartment gets messier, and her real-life friends grow concerned.

The staging here is effective, with a simple set by Brad Slavik, as well as props and set decoration by Gwynneth Rasuch and Denise Mandle that lend a sense of realism to the proceedings. There’s also excellent lighting by Michelle Zielinski and sound by Leonard Marshell, bringing the world of Mya’s apartment, and the world inside her mind, to life and aiding the strong performances of the cast, led by Badgley in a relatable performance as Mya, whose descent into fantasy and flirtation with the darker sides of her imagination is believable and compelling. There’s also good support from Hanify as the not-so-perfect dream lover Vincent, and Bossi as the convincingly concerned Jessica. 

This is a show that explores issues that I think a lot of writers and creative people face, as well as looking with a bit of critical eye on “celebrity worship” culture as well as dealing with the subjects of depression and social detachment. It’s an intriguing and promising new work. It’s running for one more weekend, so there’s still a chance to check it out.

First Run Theatre is presenting Leannán Sidhe at the Kranzberg Arts Center until December 3, 2023

 

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First Run’s Well-Cast “Wayward” is an Emotional Look at a Time, a Place, and Memorable Characters

Posted in St Louis Theatre, tagged , , , , , on August 15, 2023| Leave a Comment »

Wayward
by Eric Berg
Directed by Phil Wright
First Run Theatre
August 11, 2023

Lexy Witcher, Jade Cash, Monica Allen
Photo: First Run Theatre

First Run Theatre is staging a compelling, highly evocative show at the Kranzberg Arts Center. Wayward, by Eric Berg, isn’t entirely original in terms of story, but it does an excellent job of portraying the characters in a specific time, place, and cultural moment in history. It’s also an ideal vehicle for the terrific cast that director Phil Wright has assembled. 

The framing device presents focal character Carol Kwiatkowski (Lexy Witcher) as a middle-aged mother in the mid-1980’s, telling a story to an unnamed and unseen adult child. The bulk of the story, though, takes place in Kansas City, Missouri in 1962, at the “Home for Wayward Girls”, operated by an order of Catholic nuns led by the stern Sister Elizabeth (Monica Allen), and assisted by the younger, more approachable Sister Anne (Jade Cash). The young Carol, pregnant and unmarried, arrives at the home early in the year and is advised of the rules and expectations by the sisters, although she insists she won’t be staying long, as her boyfriend Ronnie should be there to pick her up soon so they can get married and raise their child together. Sister Elizabeth has heard this story before, and is doubtful, but reluctantly allows Carol to delay signing an adoption consent form. Then, Carol is introduced to the other residents of the house, known by nicknames and aliases because they are “encouraged” not to use their real names or share personal information. So, we meet the friendly Country Girl (Mckenna Stroud); the well-read, culturally connected Mayflower (Sarah Vallo); the gruff, cynical Jersey Girl (Amie Bossi); and Maggie (Camryn Ruhl), who is due to give birth any day now. Over the course of the next few months, we see the developing relationships between the residents, as Carol finds her place in the group and the young women share their thoughts and hopes, as well as their contrasting personalities and efforts at friendship within the strict framework of the home’s rules, and the expectations of society around them.

This premise isn’t a new one. I’ve seen other plays and stories that cover similar ground, but what makes this one especially compelling is the characters, and especially the way the playwright portrays their relationships to one another and also to their cultural time and place, with Jackie Kennedy’s televised White House tour being a major focal point, and pop culture references brought up not just for setting, but as a reflection of the characters and society, emphasizing the fact that these are essentially “normal” young women who have found themselves in a situation made difficult by the social expectations and pressures of the time in which they live.  There are a few story threads I wish could be fleshed out a little more, but for the most part the story is engaging and thoughtful.

The evocation of time and place is excellent, and particularly compelling. I believe these characters, and the terrific performers make me believe them all the more. Witcher, as Carol, is an ideal, approachable lead, taking a credible emotional journey and bringing the audience along with her. Cash is also memorable as the initially shy, but increasingly sympathetic Sister Anne. All of the players are strong, from Allen’s stern but multi-dimensional Sister Elizabeth, to Stroud’s kind Country Girl, Vallo’s reserved but also kind Mayflower, Bossi’s defensively snarky Jersey Girl, and Ruhl’s two important and contrasting roles. It’s a cohesive ensemble, bringing much energy and heart to the proceedings. 

The early 1960’s setting is well-established in the plot and characters, and the production values enhance this atmosphere. Brad Slavik’s set is simple but effective, and the costumes are well-suited, although there is no designer listed in the program. There’s also effective lighting by Michelle Zielinski and sound by Jenn Ciavarella. 

Ultimately, Wayward is about a young woman who makes the most of a difficult situation, and the relationships she forms and the lives she affects in the midst of societal pressure and a strict structure that offers markedly different treatment for women vs. men. As a play, it makes the most of a premise that’s been used before, although this show brings a degree of nuance and character that makes the story especially compelling. It’s the best show I’ve seen from First Run, and I highly recommend checking it out.

Camryn Ruhl, Mckenna Stroud, Sarah Vallo, Jade Cash, Amie Bossi, Lexy Witcher Photo: First Run Theatre

Cast of Wayward
Photo: First Run Theatre

First Run Theatre is presenting Wayward at the Kranzberg Arts Center until August 20, 2023

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First Run Hosts an Eventful, Somewhat Talky “70th Birthday”

Posted in St Louis Theatre, tagged , , , , , on November 28, 2022| Leave a Comment »

Bernice’s 70th Birthday
by Nancy Gall-Clayton
Directed by Sean Belt
First Run Theatre
November 26, 2022

Tanya Badgley, Deb Dennert
Photo: First Run Theatre

First Run Theatre has a commendable mission to showcase new plays by regional playwrights. Their latest production, Bernice’s 70th Birthday by Nancy Gall-Clayton has much going for it, with a well-staged production and good cast. There’s a compelling story here, although perhaps a little too much for one play in terms of subject matter, and not enough in terms of action. 

This is essentially a character study, focusing on the active, upbeat Bernice (Deb Dennert), who is celebrating her 70th birthday, although she balks at being called a “senior”. Bernice is fun-loving a likes to think outside the “box” society seems to want to put her in. She clashes with her middle-aged daughter, Carol (Tanya Badgley) about her life goals and plans for her house and living arrangements. Carol, who has issues of her own with workaholic tendencies and a struggling marriage, encourages Bernice to look into moving into a condo in a retirement community, while Bernice tries to help Carol “loosen up” a bit. Bernice offers marriage advice, but also has her own issues coming to terms with her late husband’s long-ago death and its impact on her family, including estranged son Evan (Tyson Cole), who is much younger than Carol and was a child when his father died. He’s also gay, which Bernice has trouble accepting, and when he turns up after eight years asking lots of personal questions, Bernice is forced to confront several issues in her life that she has previously avoided. The dynamic between Carol and Evan–who have stayed in touch but don’t seem to have much in common–is also explored, as a series of meetings and conversations and meetings on Bernice’s back porch challenge the characters to examine their relationships, decisions, and attitudes toward each other, their loved ones, and their attitudes toward life.

There are a lot of ideas in this play, and many of them have been explored before elsewhere. The structure is fairly laid-back, but the conversations can get intense, to the point at times where it just comes across as a lot of yelling. Also, there might be a little too much here in terms of subject matter for one play, and the characters’ story arcs (especially Carol’s) can seem a little simplistic. There isn’t a lot of action here, and while there have been some great plays that consist mostly of a series of conversations, this one could use a little more focus on what it’s trying to say. Also, I often found myself wishing to see some of the characters who are just talked about–such as Carol’s husband, Evan’s partner, and Bernice’s “yoga friends”. 

The fine cast does a good job making the characters compelling, with Dennert’s Bernice leading the way. Dennert does an excellent job of portraying Bernice’s strengths as well as her flaws, and her attitudes toward both of her children are complex and credible. Cole is also strong as Evan, who longs for answers and a better relationship with his mother, and Badgley does a creditable job with the difficult role of Carol. The scenes between Badgley and Cole are especially well-done, and all three make a believable, if strained, family unit.

The production values are fairly basic, with a simple set by Brad Slavik, fine lighting by Nathan Schroeder and suitable costumes by Tracey Newcomb, working well in the black box theatre space at the Kranzberg Arts Center. The play itself could use some editing, but what First Run has presented here portrays this script in a compelling light. It’s not the most lively of birthday celebrations, but it’s a credible family dynamic with a good cast, and there’s a lot to think about here. 

Deb Dennert, Tyson Cole
Photo: First Run Theatre

First Run Theatre is presenting Bernice’s 70th Birthday at the Kranzberg Arts Center until December 4, 2022

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First Run’s “Locked Ward” Is an Intriguing Character Study with a Bit of Mystery

Posted in St Louis Theatre, tagged , , , , , on August 15, 2022| Leave a Comment »

Locked Ward
by Amy Crider
Directed by Phil Gill
First Run Theatre
August 14, 2022

Uche Ijei, Ethan Isaac
Photo: First Run Theatre

The title of First Run Theatre’s latest production, Locked Ward, is fairly straightforward, since it takes place in a locked ward at a psychiatric hospital. Still, there’s more to this story than its initial premise, with its clearly defined characters and an intriguing degree of mystery that works on several different levels. Currently on stage at the Kranzberg Black Box, this production is brought to life by a fine cast and simple but effective production values. 

The story, inspired by the playwright’s personal experience, takes place in a psychiatric ward inhabited by a variety of patients who are there for different reasons. Although it’s essentially an ensemble piece, the biggest focus appears to be on Glen (Ethan Isaac), a former police officer and recovering drug addict who doesn’t quite trust the insights and advice of psychiatrist Dr. Blumenthal (Jaz Tucker). Glen is convinced he knows what his problem is, but the doctor wants to explore additional possibilities, making Glen uncomfortable and suspicious. Glen enters the ward to join the “regulars” who all have strong, distinct personalities–there’s the rigidly programmatic Franklin (Duncan Phillips), who is most comfortable with a strict routine and whose role model is Star Trek‘s Mr. Spock. There’s also Vladimir (Stephen Thompson Sr.), a Russian immigrant who wants to get out of the hospital so he make a fresh start in life, but who resists taking his meds and distrusts the establishment; and Jill (Jalani Hale), an intelligent but insecure aspiring doctoral student in art history, who has a crush on the doctor and endures regular ECT treatments that effect her memory. The newest patient besides Glen is Eleanor (Uche Ijei), who is only there for a short time under observation while she tries out a new medication to treat her depression. She and Glen form something of a bond as a new mystery unfolds–a well-liked nurse dies suddenly, and the patients try to figure out what happened. 

The biggest strengths of this play are the relationships between the characters and the unfolding mystery plot, as the characters try to figure out what’s happening and the medical staff urge them not to get too involved. The playwright does an excellent job of portraying the mystery on a few different levels, exploring the patients’ perspective as well as challenging the audience to wonder who to believe and what to think. The characters’ interactions are also richly portrayed, as conflicts are explored, bonds are made, and characters challenge and encourage one another. There’s no sensationalism here, either, which is also a strength, and the actors portray the disparate personalities with clarity and energy, and a good deal of ensemble chemistry.

The whole cast is strong, with convincing performances from Isaac as the conflicted, stubborn Glen, Ijei as the kindhearted Eleanor, Hale as the weary, self-doubting Jill, Thompson as the opinionated Vladimir, Phillips as the determinedly regimented Franklin, and Tucker as the enigmatic Dr. Blumenthal. Special mention should go to stage manager Gwynneth Rausch, who stepped in on short notice in the role of occupational therapist Linda, with the principal performer (Lillie Weber) out due to illness. All of the players work together to portray a credibly realistic situation with occasional elements of mystery.

The production values here aren’t flashy, but work well for the story. The basic set by Brad Slavik and atmospheric lighting by Tony Anselmo serve the plot well.  In terms of pacing, there were a few too many blackout scenes that could be jarring at times, and sometimes the tone could be overly relaxed, but for the most part the storytelling is effective, especially when focusing on the characters’ relationships. This play does deal with the subject of mental illness and many of the struggles that go with that topic, so appropriate warnings were given in the pre-show announcements. Overall, Locked Ward is a compelling look at a world many people don’t get to see, with convincing and sympathetic characters and situations. It’s a promising new play as presented by First Run Theatre. 

Image: First Run Theatre

First Run Theatre is presenting Locked Ward at the Kranzberg Black Box Theatre until August 21, 2022

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