Posts Tagged ‘gary f. bell’

“Three Sheets to the Wind” At Stray Dog Theatre Features Memorable Characters, a Lot of Talking

Posted in St Louis Theatre, tagged , , , , , on June 5, 2026| Leave a Comment »

Three Sheets to the Wind
by Gary F. Bell and Robert L. White
Directed by Gary F. Bell
Stray Dog Theatre
June 4, 2026

Mike Wells, Joseph Garner, Sarah Polizzi, Jeffrey M. Wright
Photo: Stray Dog Theatre

Stray Dog Theatre’s newest show is a world premiere, written by Artistic Director Gary F. Bell and his longtime writing partner Robert L. White. Three Sheets to the Wind strikes me as a bit of a throwback to 1980’s comedies like those of Larry Shue, although it still needs a bit of work, and there is more talk than action in many moments. Still, the cast is well-chosen and enthusiastic, and there are some genuine laughs to be had here, although it could benefit from some more stagings and workshops to tighten up the script. There are also a few technical issues that can make the story occasionally difficult to follow. 

The story is supposed to be set in the present, although there are references made by some characters that make it seem like it’s earlier, especially since there’s a character who keeps mentioning having worked in the 60’s and 70’s, which would make her older than the character seems to be presented. Also, the structure suggests a 1980s or possibly early 90s vibe, reminiscent of a sitcom from that era. The story follows Oliver (Joseph Garner), a single gay man living in Greenwich village who is close to his neighbors, married couple Cal (Jason Meyers) and Maddie (Sarajane Clark). Cal is Irish for no apparent plot reason. After some establishing conversations, it’s made clear that Oliver needs a new roommate, and has made an arrangement with ex-boyfriend and television psychiatrist Aaron (Jeffrey M. Wright) to live there for a while and help Oliver with his financial situation. Another ex-boyfriend, Danny (Mike Wells) is also brought up, and soon Danny shows up unexpectedly with some quirky actors in tow, hoping to work on developing a musical that he and Oliver had been previously writing together. The newcomers include the diva-ish Larina (Sarah Polizzi), whose plot purpose seems to call her to be as annoying and demanding as possible. Joining her are Abe (Zack Huels) and Jake (Brady Stiff), a pair of actors who just want to get on with the rehearsals and have become increasingly tired of Larina’s antics. The situation seems to pull Oliver, Aaron, and Danny together to a degree, but there’s also an Act 2 revelation involving a character called Zolda (Liz Mischel) that again, essentially consists of a lot of talking and explaining, which is hard to understand at times since the sound quality is inconsistent in this production. 

There are some good ideas here, and the general idea comes across reasonably well. There are some funny characters and moments of laughter, but the script needs some tightening and the situations need to focus more on showing than telling more often than not. There are also some characters, like Cal and Maddie, who disappear for long stretches and don’t always seem to have enough to do. The cast is enthusiastic, though, and Polizzi especially shines as the annoying, self-obsessed Larina, and Garner, Wells, and Wright have good moments together as well. Mischel does as well as possible with a surprise character at the end, and plays two other smaller roles as well, and the rest of the cast does about as well as they can with the material. There are some entertaining moments here, and the play has a good deal of potential.  I think I can see where it’s trying to go, but it’s not exactly “there” yet. It’s also a good deal longer than it needs to be, and could benefit from some trimming.

Visually, the play has a fine sitcom-type set by Rob Lippert and excellent costumes by Colleen Michelson and wigs by Priscilla Case. Tyler Duenow’s lighting is excellent, and Justin Been’s sound is good for the most part, although there some acoustic issues with such a talky play being able to be understood. The pacing could use some improvement, as well, but there are some genuinely funny moments.

For the most part, Three Sheets to the Wind comes across as a promising but not all-there work in progress. There are some funny situations and characters, but there’s more talk and less action than there should be. The cast is excellent, for the most part, though, and there are plenty of laughs to be had. It’s worth seeing for its potential and effort.

Joseph Garner, Sarajane Clark, Jason Meyers
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Three Sheets to the Wind at Tower Grove Abbey until June 20, 2026

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SDT’s Evocative “Second Hurricane” Highlights Young Talent, Memorable Score

Posted in St Louis Theatre, tagged , , , , , , on August 20, 2025| Leave a Comment »

The Second Hurricane
Composed by Aaron Copland
Libretto by Edwin Denby
Directed by Gary F. Bell
Stray Dog Theatre
August 15, 2025

Cast of The Second Hurricane
Photo: Stray Dog Theatre

Stray Dog Theatre is venturing into a new artistic area with their latest production, Aaron Copland’s 1937 youth opera The Second Hurricane. Featuring simple but striking staging, excellent vocals, and a promising cast of talented young performers, it’s an intriguing and musically impressive production that highlights its cast and Copland’s score. It’s also something of a trip back in time, considering how its tone and sense of theming effectively evoke the era in which the work is set.

This was well-known composer Copland’s first venture into opera, and it was intended as a youth show, that I could easily imagine being done by high school choir groups. The show features a youth chorus and an adult chorus, with some spoken parts but mostly focusing on the music. The story follows a Midwest community in the 1930s after a devastating tornado. When a pilot arrives at a local high school trying to recruit volunteers to help distribute supplies to those affected by the catastrophe, an assertive girl named Gwen (Bryn Sentnor) steps up and volunteers, and soon five more are recruited to join her–Butch (Soren Carroll), brothers Fat (Wesley Balsamo) and Gyp (Ben Hammock), radio enthusiast Lowrie (Jabari Boykin), and Queenie (Nadja Kapetanovich). The six are dropped off at an area of high ground near the affected area, and then find themselves stranded when another hurricane strikes. They group of six also has grown to seven, since they are joined by Jeff (Cece Mohr), a younger boy who lives nearby. The rest of the show follows the group’s “adventure” as they struggle to survive and form a bond as a result of their shared struggle.

The choruses serve the purpose of narrating the action as well as carrying the soaring notes of the melodic score. There are also strong vocal turns from all of the featured young performers, and everyone is excellent. It’s an ideal showcase for this group of talented and highly promising young singers. The acting is good, but there isn’t much in the way of dialogue, and I also found myself occasionally wishing for supertitles–as local opera companies are known to use–because it’s not always easy to understand the lyrics. Still, it’s a compelling story and a strong, memorable score, lushly played by a superb orchestra led by music director John Gerdes.

Another especially notable aspect of this production is its lighting and costumes. The set by director Gary F. Bell is simple but all that is necessary, as much of the atmosphere is achieved by means of music and by Tyler Duenow’s stunning lighting. There are also excellent period-accurate costumes by Colleen Michelson that add to the overall ambience and 1930’s vibe. 

This is a very 1930’s show, but its message is also a timeless one, of community and working together in a crisis, as well as the focus on young people as hope for the future. It’s a stirring theme for Depression-era audiences as well as today. It’s a fine new venture for Stray Dog Theatre. 

Jabari Boykin, Soren Carroll, Bryn Sentnor, Wesley Balsamo, Ben Hammock
Photo: Stray Dog Theater

Stray Dog Theatre is presenting The Second Hurricane until August 30, 2025

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SDT’s Well-Cast “Frankie and Johnny” is a Gritty, Emotional Character Study

Posted in St Louis Theatre, tagged , , , , , on June 17, 2025| Leave a Comment »

Frankie and Johnny in the Clair De Lune
by Terrence McNally
Directed by Gary F. Bell
Stray Dog Theatre
June 14, 2025

Stephen Peirick, Mara Bollini
Photo by Sarah Gene Dowling
Stray Dog Theatre

“Love is messy and beautiful.” That’s a tagline for the show that’s featured on the marquee outside Stray Dog Theatre’s Tower Grove Abbey performance space for their latest production, Terrence McNally’s Frankie and Johnny in the Clair de Lune. SDT always posts a memorable saying, line or quote related to their current production on that signboard, and this one is particularly appropriate, considering the quality of McNally’s script and the staging by director Gary F. Bell featuring two talented local performers.

The “Clair de Lune” in the title refers to a famous Debussy piano piece as well as the literal moonlight to which the characters refer throughout the story. As also mentioned in the title, the story follows Frankie (Mara Bollini) and Johnny (Stephen Peirick), who work together in a New York City diner–she’s a waitress and he’s the new cook. We meet them at her apartment following their first sexual encounter, following a dinner-and-a-movie date, and the early suggestions are that this is intended to be the start of something more serious. Or is it? The problem here is that, while Frankie and Johnny are obviously attracted to one another, they are very different in personality and attitudes toward life, and both have suffered various disappointments and personal struggles over the years, as their conversation soon reveals. Both characters have their obvious flaws, but there’s also an undeniable pull toward one another that becomes more clear as they share their stories, even though Johnny is prone to oversharing and Frankie is guarded and hesitant. It’s a fascinating look at an unfolding “will-they-or-won’t they” connection that can either be left as a one night stand or be developed into something more. Also, despite the obvious character flaws, and how easy it would be to make Johnny look like a predatory creep, McNally makes a concerted effort to not go there with the character.

The casting and direction is key, as well, since the characters have to be watchable and to some degree relatable for a story like this to work. It’s a delicate balance of conversation, chemistry, and attempted empathy, as two hurting people reach out to one another and try to figure out if they can work as a couple. Peirick’s talkative Johnny comes across as sincerely well-meaning, for the most part, if a bit on the oversharing side. He’s effusive in the romantic language, and the also excellent Bollini’s clearly guarded Frankie displays a mixture of annoyance, curiosity, and fascination with this guy who isn’t what she first thought he would be. These are relatable, highly personal portrayals, and both performers excel, individually and as a pair. Director Bell’s thoughtful staging manages to both be frank and respectful to the characters as genuine, flawed humans searching for a real connection.

The set by Bell is an appropriately detailed representation of a small New York apartment, with a credibly “lived-in” vibe. Tyler Duenow’s lighting adds much in the way of atmosphere to the proceedings and late-night setting, with also excellent work from Justin Been on sound design, as the music and radio are important elements of the story, and the clarity of the dialogue is also essential. Bell’s costume design also works well for the characters, even though they (and especially Johnny) don’t wear a lot of clothes throughout the show.

Frankie and Johnny in the Clair de Lune is an intense, intimate, highly personal  look at a couple struggling with past regrets and clinging to the possibility of finding something good together. It’s definitely for mature audiences, as there is frank discussion of sex and intense subject matter, strong language, and sexual situations. It’s a thoughtfully scripted, well directed  character study, showcasing two especially strong lead performances by excellent local performers.

Stephen Peirick,, Mara Bollini
Photo by Sarah Gene Dowling
Stray Dog Theatre

Stray Dog Theatre is presenting Frankie and Johnny in the Clair De Lune at the Tower Grove Abbey until June 21, 2025

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SDT Focuses on Empathy, Kindness in Ideally Cast “Curious Savage”

Posted in St Louis Theatre, tagged , , , , , on February 11, 2025| Leave a Comment »

The Curious Savage
by John Patrick
Directed by Gary F. Bell
Stray Dog Theatre
February 6, 2025

Tyson Cole, Liz Mischel, Gansner, Lindsey Grojean
Photo by John Lamb
Stray Dog Theatre

The Curious Savage may have flopped on Broadway when it debuted in 1950, but it’s had a vibrant life as a staple of regional, community, and school theatre in the decades since. Now, Stray Dog Theatre and director Gary F. Bell have brought John Patrick’s quirky, characterful comedy to their Tower Grove Abbey stage with wit, energy, and a first-rate cast that emphasize the show’s themes of kindness, compassion, and empathy in the midst of misunderstanding and greed in the outside world. In some ways, it’s a look at life in the past, but its message is timeless and engagingly compelling.

The story follows Ethel P. Savage (Liz Mischel), an eccentric widow and sometime actress who wants nothing more than to use her late husband’s fortune, that she has inherited, to give away and help people achieve their dreams. Unfortunately, her greedy adult stepchildren have other ideas and have Ethel committed to a private sanitarium, The Cloisters, as a way of trying to get the money from her. The establishment, headed up by the kindly Dr. Emmett (David Wassilak), assisted by capable nurse Miss Willie (Claire Coffey), is home to a quirky collection of residents who welcome Ethel with open arms. The contrast between the self-centered stepchildren and the patients at The Cloisters becomes clear as the stepchildren–stuffy senator Titus (Matt Anderson), much-married socialite Lily Belle (Sarajane Clark), and smarmy judge Samuel (Joseph Garner)–seem only out for their own interests, while the patients care about Ethel even in the midst of their own struggles. The story that unfolds is humorous and madcap on one level, but also serves as an object lesson in compassion and empathy.

The ensemble chemistry is essential here, with the truly terrific Mischel as Ethel leading a superb cast that works together especially well, displaying the strong bond that develops between Ethel and the patients in a credible “us vs. them” dynamic. Everyone has an important role, from Anne Vega’s motherly Florence, to displaced statistician Hannibal (Gansner), as well as the semi-silent and disgruntled Mrs. Paddy (Camille Fensterman); the childlike  Fairy May (Lindsey Grojean); to insecure war veteran Jeffrey (Tyson Cole), who suffers from survivor’s guilt and memory loss. Everyone is ideal for their role, with Grojean a particular standout in an energetic, vulnerable performance that reminds me in ways of Gilda Radner. There’s also excellent work from Wassilak as the even-tempered and kind Dr. Emmett, and Coffey as the caring Miss Willie, who has her own personal reasons to be there that will be revealed as the story goes on. As the greedy stepchildren, Anderson, Clark, and Garner make for a hilarious and pitiful trio, serving as a striking contrast to the gentler, more genuinely caring patients at the Cloisters.

The look and mood of this production are well maintained through director Bell’s excellent pacing and well-decorated set, aided by Colleen Michelson’s detailed period styled costumes. There’s also memorable work from sound designer Justin Been, with the use of music working especially well with the action. Tyler Duenow’s lighting is also proficient in helping to achieve and support the overall whimsical tone of the show.

Stray Dog Theatre is having excellent success lately with shows from the 1950’s, after closing out 2024 with a fun production of Bell, Book & Candle. The Curious Savage is in a similar vein as that show, but with more of an insightful, compassionate edge and a message that’s still as relevant today as it was 70 years ago. It’s also a remarkable showcase for a well-chosen and energetic cast. It’s a great way to start off the new year at SDT.

Cast of The Curious Savage
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting The Curious Savage at Tower Grove Abbey until February 22, 2025

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“Bell, Book & Candle” Casts a Lively Spell at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , , on December 10, 2024| Leave a Comment »

Bell, Book & Candle
by John Van Druten
Directed by Gary F. Bell
Stray Dog Theatre
December 5, 2024

Claire Coffey, Liz Mischel
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is offering another offbeat show for the holidays, closing out their 2024 season with John Van Druten’s classic supernatural rom-com Bell, Book & Candle. A story about a New York City witch who falls in love with an “ordinary” guy, this play was an acknowledged influence on the hit TV show Bewitched, and this show has some of that whimsical tone that viewers of that sitcom might recognize, although there are several obvious differences. Here on stage at Tower Grove Abbey, director Gary F. Bell has made some clever choices in staging, as well as featuring a strong cast and well-orchestrated production values, making for a lively, often hilarious staging.

In the first act, we are introduced to Gillian Holroyd (Claire Coffey), an elegant, sophisticated witch who manages a New York City apartment building. Her mischievous Aunt Queenie (Liz Mischel), also a witch, also lives in the building and has been causing trouble for their neighbor, young publisher Shepherd Henderson (Joel Wilper). Gillian finds Shep attractive, and contemplates a romantic adventure, but it’s not supposed to be serious because witches aren’t supposed to fall in love. Gillian promises to introduce Shep to a popular writer, Sidney Redlitch (Gary Wells), who writes about magical happenings but doesn’t seem to understand what’s really going on, and Gillian’s troublemaking brother, Nicky (Victor Mendez) soon becomes involved, teasing Gillian about Shep and promising to “help” Redlitch with his book. Shenanigans ensue, of course, but Gillian soon finds more than she bargained for, as she grows closer to Shep and more at odds with her friends and relatives in her secretive community. There’s a lot in the way of mixed motives, whimsical pranks, and unexpected reactions as the disparate characters become involved in hilarious clashes, schemes, misunderstandings, and surprises, with Gillian herself getting perhaps the biggest surprise of all.

The tone here is whimsical and upbeat, for the most part, with an arch upper-class 1950’s tone that works well with the story, accentuated by impressive Mid-Atlantic accents from most of the cast. The costumes, lighting, set, and sound are all used in creative ways to enhance character development and story. Bell’s marvelously detailed set, with scenic painting by Jude Hagene, adds much in the way of atmosphere and Mid-Century New York sophistication with an air of quirkiness and mystery. There’s also excellent lighting by Tyler Duenow and sound  design by Justin Been that add to the overall atmosphere, and the costumes by Colleen Michelson are a work of art in themselves, from Aunt Queenie’s and Nicky’s more colorful, whimsical attire to Shep’s more toned-down but also stylish outfits, to Redlitch’s rumpled look, and especially the succession of ensembles worn by Gillian that change in tone, color and style over the course of the play reflecting changes in her character and situation. It’s an impressive technical effort that adds to the overall emotion and whimsicality of the show.

The cast is excellent, with all the performers well-chosen for their roles. Coffey as Gillian has the most character development, and she plays the changes well, from confident, sophisticated, and worldly, to somewhat bewildered. Her growing relationship with Wilper’s goofily charming Shep is thoroughly believable. There’s also excellent support from Mischel as the sweetly wacky Aunt Queenie, Mendez as the mischievous Nicky, and Wells as the rumpled, eager but somewhat clueless Redlitch. There’s also a memorable feline performance from Agatha Coffey as Gillian’s magical cat, Pyewacket. The energy levels are lively, the pacing is spirited, and the tone is an appropriate blend of goofy comedy and mid-century sophistication and quirkiness. 

I hadn’t seen this play before, although I had heard of it, and I’m glad SDT’s version has been my introduction to this wacky, occasionally risqué, and ultimately sweetly romantic story. The “witchcraft” in the story often serves as a metaphor for any kind of offbeat or artistic nature or way of living, and there is a bit of a conformity message that may register differently with modern viewers than it would have in the 1950’s, however. Still, it’s a fun show, with a great cast, and a whimsical “holiday” show for Stray Dog Theatre.

Victor Mendez, Claire Coffey, Gary WElls, Joel Wilper
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Bell, Book & Candle at the Tower Grove Abbey until December 21, 2024

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“Ripcord” is a Well-Cast, Fast Paced Comedy from Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , on June 14, 2024| Leave a Comment »

Ripcord
by David Lindsay-Abaire
Directed by Gary F. Bell
Stray Dog Theatre
June 8, 2024

Jan Mantovani, Annie Bayer
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre’s latest production is a showcase for two first-rate comic performances, along with a strong supporting cast in an increasingly madcap series of situations. Directed by artistic director Gary F. Bell, David Lindsay-Abaire’s Ripcord is a hilarious, fast-paced, character-driven comedy that explores issues of aging, personality conflicts, grief and regret, and more. It’s a small show with a big sense of humor, and a good deal of action.

The story, set at the Bristol Place Senior Living Facility, follows the curmudgeonly, reclusive Abby (Annie Bayer), and the more outgoing, bubbly Marilyn (Jan Mantovani), who are unlikely roommates. Abby complains to staff member Scotty (Victor Mendez), that she’s used to having the room to herself, and she wants Marilyn to be moved to another room. The facility’s new superintendent seems to be against this idea, and as the two roommates continue to clash, they come up with an idea: a bet. The upbeat Marilyn is challenged to frighten the stoic Abby, while Abby’s goal is to make Marilyn angry. The “prize” for Abby is that Marilyn would move out, and if Marilyn wins, she gets the bed closer to the window. This bet sets the plot in motion, in which a series of increasingly wild happenings ensue, including the involvement of Marilyn’s daughter Colleen (Donna Parrone), son-in-law Derek (Matt Anderson), and son Lewis (Jeremy Goldmeier), as well as another important character named Benjamin (also Goldmeier).  As the situations get more and more unusual–and dangerous–the audience is made to wonder exactly how this bet is going to end, and whether the women will emerge from this series of events as friends or enemies. 

This is a funny show, with a good deal of laugh-out-loud humor, but also a more poignant side as both of the main characters have hidden depths. The complexity of the characters is conveyed well by Bayer as the initially difficult to like Abby–who is insistent on pushing away anyone who tries to get close–and Mantovani as the almost too-chipper Marilyn, who has her own reasons for being so insistently positive. These two characters are the heart of the show, and both performers shine, working together well and conveying a believable competitive energy. Mendez is also excellent as the likable and often exasperated Scotty. There is also strong support from Parrone and Anderson as the helpful Colleen and Derek, and Goldmeier in a dual role that proves to be integral to the story.

The play fills out the stage at Tower Grove Abbey with a suitably realistic set by Rob Lippert, and excellent evocative lighting by Tyler Duenow. The lighting, as well as the sound by Justin Been, is put to excellent use in some especially memorable scenes, such as a Halloween “haunted house” that Scotty is a part of, and another inventively staged “action” scene later. The costumes by Colleen Michelson are well suited to the characters, with the haunted house scene also being a fun highlight in this respect. 

Overall, Ripcord is a well-plotted show that portrays the ups and downs of aging and personality conflicts in memorable fashion. At SDT, the show is brought to life with truly marvelous performances from the two leads, who make a credibly hilarious dualling duo. With a strong supporting cast and fast-paced staging, this is a thoroughly entertaining, thought-provoking play.

Matt Anderson, Victor Mendez, Jan Mantovani, Annie Bayer
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ripcord at Tower Grove Abbey until June 22, 2024

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SDT’s “Sister Mary” Offers a Darkly Comic Alternative for the Holidays

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

Sister Mary Ignatius Explains It All For You
by Christopher Durang
Directed by Gary F. Bell
Stray Dog Theatre
December 14, 2023

Tommy Pepper, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Sister Mary Ignatius Explains it All For You has something of a controversial history. Christopher Durang’s pitch-dark satire of Catholic Church teachings, particularly in American parochial schools, has been the subject of protests and complaints over the years. It’s also the latest “alternative” holiday offering from Stray Dog Theatre. With a strong cast and simple but effective staging, the show certainly makes a memorable impression. 

Unfortunately, I wasn’t able to see this production until late in its run, and it closed this past weekend, so this is an “after the fact” review. Still, Sister Mary made her mark, as the titular nun (Sarajane Clark) started out on a simply decorated stage backed by a large Christmas wreath, poised to teach the audiences the basics of Catholic belief, in her own insistently cheerful manner. Occasionally, she would call on one of her young pupils, Thomas (Tommy Pepper) to recite various points of doctrine. After a series of pointed lessons on matters such as Heaven, Hell, and Purgatory, a group of former students appeared to enact a Christmas pageant apparently written by another former student, although it’s basically reiterating a lot of Sister Mary’s own lessons. Soon, we learn that the now-adult former pupils–Gary (Stephen Henley), Diane (Rachel Bailey), Philomena (Eileen Engel), and Aloysius (Sean Seifert) have their own agenda, and it’s not one that the rigid Sister Mary is going to like. From there, the story went into a series of directions, some fairly predictable and others downright shocking. There isn’t much else I can say without spoiling the story, but I’ll just say that Sister Mary certainly had some tricks up her sleeve (or in her sock), leading to an especially dark conclusion that will probably stick in the memory of audience members for quite a while.

The staging is well-paced and brisk, focusing on the towering performance of Clark as the determined, insistently staunch Sister Mary Ignatius. Regardless of whether or not you agree with her interpretations of Catholic doctrine, it’s clear that Sister Mary is not going to budge in her stance. Clark also maintained a cool, cheerful veneer most of the time that added a degree of menace to her characterization, which was in keeping with the icy, super dark tone of this piece. Young Pepper as Thomas was also memorable, cheerfully obeying Sister Mary no matter what she asked him to do. There were also convincing performances from Henley as Gary, who has a secret he knows Sister Mary won’t like; as well as Bailey as the assertive Diane; Engel as the conflicted Philomena; and Seifert as the increasingly nervous Aloysius. The confrontations are believable and increasingly volatile, with convincing performances by all the cast members.

Technically, the staging was fairly simple, but it worked well considering this is supposed to be a presentation on a stage at a church, which made the Tower Grove Abbey space especially ideal for this show. Justin Been’s set, Gary F. Bell’s costumes, and Tyler Duenow’s lighting contributed much in the way of atmosphere to the production.

Not being Catholic myself, I don’t really have as personal a connection with this story as I would imagine a lot of local audience members would, considering the large Catholic population in St. Louis. There are some points that seem to jab more at Christianity in general, but the Catholic Church is the primary target. There’s a lot to think about here, especially in terms of authoritarianism in religious organizations, and its effects on those who experience it. This kind of sharp, biting satire is in keeping with SDT’s “alternative” holiday tradition, and it’s certainly provided much about which to think and discuss.

Stephen Henley, Sarajane Clark, Rachel Bailey, Eileen Engel, Sean Seifert
Photo by John Lamb
Stray Dog Theatre

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SDT Entertains with Campy, Energetic “Vampire Lesbians of Sodom”

Posted in Uncategorized, tagged , , , , , on June 12, 2023| Leave a Comment »

Vampire Lesbians of Sodom
by Charles Busch
Directed by Gary F. Bell
Stray Dog Theatre
June 10, 2023

Sarajane Clark, Greta Johnson, Victor Mendez, Zander Huber
Photo by John Lamb
Stray Dog Theatre

The latest production from Stray Dog Theatre is from celebrated playwright and drag artist Charles Busch, who seems to be a favorite of this theatre company, since they’ve performed several of his works in the past. Vampire Lesbians of Sodom is a fairly short play, but it packs a lot of laughs into its roughly 70 minute running time, featuring Busch’s campy style and an energetic cast who all seem to be having a great time on stage.

The story is told in three scenes, starting in the infamous biblical city of Sodom, then moving into glamorous 1920’s Hollywood, and finally arriving in glitzy 1985 Las Vegas. Most of the actors play a variety of roles, with notable exceptions being the two main characters, La Condesa Scrofula de Hoya (Sarajane Clark) and Madelaine Astarté (Xander Huber), whose rivalry lasts for many centuries. I won’t give too much away, because that might spoil the fun, but basically, it includes quests for amorous conquests, the blood of virgins, ambitious movie stars, and lots of stylized melodrama. It’s actually a fairly thin plot, but the point isn’t the plot, really. 

The point here appears to be letting the actors ham it up as much as possible, and they do that with impressive enthusiasm, led by the gloriously theatrical Clark and Huber, who make the most of their roles as glamorous, seemingly ageless rivals. The rest of the cast includes Rachel Bailey, Greta Johnson, Victor Mendez, Nara, and Sean Seifert, most of whom play a variety of roles, with Seifert a standout in a hilariously physical performance as Las Condesa’s sycophantic butler in the Hollywood sequence. Johnson also makes a humorous impression as two different young, seemingly clueless aspiring starlets, and Mendez gleefully overacts his role as a movie star and jealous boyfriend. The staging is fast-paced and energetic, with moments of physical comedy, witty banter, and all that hilariously overdone emoting.

The set, by Rob Lippert, is appropriately versatile, featuring a mountainous backdrop that is modified with signage in the Hollywood and Vegas scenes. There are also gleefully whimsical costumes by Colleen Michelson and wigs by Sarah Gene Dowling. Tyler Duenow’s lighting and Justin Been’s sound also contribute to the humorous tone of the production.

Overall, Vampire Lesbians of Sodom is a broadly comic show that revels in its own silliness. With its use of language and innuendo, it’s not for everyone, but it’s a fun showcase for its enthusiastic cast. Fans of bawdy, campy comedy, and particularly those who appreciate the works of Charles Busch, should especially enjoy this show. 

Xander Huber, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Vampire Lesbians of Sodom at the Tower Grove Abbey until June 24, 2023

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Stray Dog Theatre’s “Normal Heart” is Poignant, Passionate Reminder

Posted in St Louis Theatre, tagged , , , , , on June 13, 2022| Leave a Comment »

The Normal Heart
by Larry Kramer
Directed by Gary F. Bell
Stray Dog Theatre
June 8, 2022

Stephen Peirick, Joey Saunders
Photo by John Lamb
Stray Dog Theatre

Depending on your age, the early days of the AIDS crisis may be living memory for you, or something you’ve only heard and/or read about after the fact. Even if you do remember, the level of detail you remember depends on level of involvement or whether you or anyone you knew was directly affected. For Larry Kramer and his friends in New York City in the early 1980s, the growing crisis was an unavoidable daily reality, as was the fight for recognition, funding, and care for the growing number of people suffering and dying as a result of the virus, before the virus was even identified or named. In Stray Dog Theatre’s production of Kramer’s acclaimed play The Normal Heart, the sense of urgency is readily apparent, as is the focus on the real people behind the fight for recognition and care against increasingly frustrating opposition. With a strong cast and highly effective staging, this is a show that cuts to heart, profoundly and affectingly.

The story and the people represented in this play are real, as noted in the voiceover at the beginning and in a letter from Kramer published in the program. There are elements of dramatization because it’s a play, and the names have been changed, but this is essentially Kramer’s account of his involvement in the development of an activist movement in the early 1980s in New York City, in response to a lack of urgency in the media and public as the news of the virus and its spread–largely among gay men. Kramer is represented here in the person of activist writer Ned Weeks (Stephen Peirick), who is affected in various ways, as he realizes that several people he knows are getting sick and dying, and little to nothing is being done. He and several other friends, including closeted businessman Bruce Niles (Jeffrey M. Wright) and health department employee Mickey Marcus (Jonathan Hey) start a new organization that focuses on raising awareness and helping those affected by it. As Ned and his friends fight for funding and support from the city government and the press, they also deal with tensions among themselves, as Ned’s confrontational approach gets a lot of pushback, and Ned grows increasingly impatient. Ned also navigates various personal relationships in his life, from his friendships in the organization to his new romance with society and fashion writer Felix Turner (Joey Saunders), to his increasingly difficult relationship with his straight, well-to-do lawyer brother, Ben (David Wassilak). The medical research side of the AIDS epidemic is also addressed through the character of Dr. Emma Brookner (Sarajane Alverson), a friend of Ned’s who is treating increasing numbers of patients and is losing her patience with the medical establishment, who don’t seem to take her seriously. There’s a lot of story here, but it’s grounded in a human focus. We see real struggles here, and credible relationships, as a well a profound sense of growing urgency and a current of grief, as the crisis continues to grow, and the numbers of deaths increases at an overwhelming rate.

This play is at once intensely personal and grander in scope, with an effort to document the early days of a movement while also increasing that movement’s reach and furthering its goals, all the while emphasizing the humanity and personhood of the people affected. The patients and victims are not just names on the stacks of boxes that fill the stage in Stray Dog’s production. They are people, with hopes, dreams, emotions, and very real fears. The sense of urgency is palpable here, as is the sheer level of emotion and the intensity of the grief as the crisis grows and gets closer and closer to the personal lives of Ned and his friends. The setting and staging of the play reflects that sense of urgency and quest for recognition, with a simple but effective set by Justin Been, striking atmospheric lighting by Tyler Duenow, and dynamic staging by director Gary F. Bell, who also served as costume designer. The look of the production isn’t as time-period specific as it could be, but that’s not a problem because a more timeless style lends to the immediacy of the production. 

The biggest strength of this production is it’s impressive cast, with no weak links and excellent ensemble energy. Peirick’s Ned is at the center, in the best performance I’ve seen from this already excellent actor.  Peirick convincingly portrays all the sides of Ned, from caring friend and boyfriend to frustrated brother to firebrand activist. There are also excellent turns from Wright, Hey, and Alverson, who all get intense “showcase” monologue moments in the second act. Saunders and Wassilak are also convincing in their roles as key figures in Ned’s life–his new boyfriend, and his brother. Saunders especially portrays the tragedy and struggle with compelling intensity. There’s also strong support from Jeremy Goldmeier and Michael Hodges in a variety of roles. 

The Normal Heart is a play you won’t forget, especially as staged by Stray Dog Theatre’s stunningly effective company. This is an era of history that you may or may not remember directly, but it’s important not to forget, even as strides have been made in the treatment and care of HIV/AIDS. It’s not just something from a history book or documentary. It’s a human story about real people. It’s important to put faces to all those names, and this production does that with poignant sensitivity and drama. 

Stephen Peirick, Jeffrey M. Wright, Stephen Henley
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting The Normal Heart at Tower Grove Abbey until June 25th, 2022

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SDT’s “Good People” Showcases Strong Lead Performances

Posted in St Louis Theatre, tagged , , , , , on February 24, 2022| Leave a Comment »

Good People
by David Lindsay-Abaire
Directed by Gary F. Bell
Stray Dog Theatre
February 19, 2022

Stephen Henley, Liz Mischel, Stephanie Merritt, Lavonne Byers
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre’s latest production is an intriguing, compelling piece that features a vivid depiction of its characters and setting. Playwright David Linsday-Abaire’s Good People is a prime example of a thoughtfully-written play that finds its heart and resonance in its sense of detail and rich portrayal of a specific locality and the people who inhabit it. It’s also an excellent showcase for a strong cast, and especially in its leading role. 

This is a play about character, but also about class distinctions, and the conflicts and issues that can be stirred up in their comparison. The story centers on Margaret “Margie” Walsh (Lavonne Byers), who is a lifelong resident of Boston’s working-class “Southie” neighborhood. As the play begins, her boss, Stevie (Stephen Henley), breaks the bad news to her that he has to let her go from her job at a convenience store due to chronic lateness. The ever-determined Margie doesn’t go out without a fight, and she’s got a good reason to be late, as she has difficulty getting consistent care for her developmentally challenged adult daughter, Joyce, who is much talked about but not seen onstage. Eventually, she’s resigned to her fate, but determined and even desperate to find a new job, under pressures from her passive-aggressive landlady Dottie (Liz Mischel) that she might lose her apartment if she can’t keep up with the rent. Soon, Margie’s longtime friend, the no-nonsense Jean (Stephanie Merritt), suggests that Margie look up their childhood friend Mike (Stephen Peirick)–who Margie briefly dated years ago–in hopes that he might be able to offer her a job. Mike has recently returned to Boston after years out of town, having built up a career as a successful fertility doctor, now living in the upscale Chestnut Hill neighborhood. Their reunion stirs up a lot of old tensions, especially for Mike, who insists he’s the same as he always was, but who takes pride in having “gotten out” of the old neighborhood, and has things he hasn’t told his wife, Kate (Laurell Stevenson) that Margie brings into the light. Margie, for her part, also has some things she hasn’t told Mike. Over the course of the show, from Southie to Chestnut Hill, from a swanky doctor’s office to Bingo night with a usual crowd, this show highlights the differences between situations while dealing with issues of friendship, loyalty, deception, class distinctions, racism (both subtle and blatant), and more. 

The tone tends to be comedic much of the time, with forays into the the dramatic and some darker undertones, and the characters are vividly drawn, and the sense of history is clearly apparent, between Margie and her neighborhood friends, to the strained dynamic between Mike and Kate, and the backstories that are revealed slowly but surely. It’s a briskly paced play, with a tone and setting that are as well-drawn as the characters. As produced at SDT, it’s a showcase for a great cast, led by the always excellent Byers in a superbly complex performance as Margie. As gifted with comedy as she is with drama, this is an ideal role for Byers, who gets to use her sharp sense of wit and timing along with a compelling emotional range. Byers also gets great support from the rest of the cast, from the quirkiness of Mischel’s Dottie, to Merritt’s tough-talking Jean, to Henley’s conflicted but well-meaning Stevie. Peirick and Stevenson are also excellent as Mike and Kate, highlighting their complex relationship and different approaches toward Margie.

Josh Smith’s set, consisting largely of a series of doors and occasional necessary furniture, provides a good backdrop to the action here. The character’s personalities are also well represented by way of director Bell’s excellent costumes. There’s also excellent work from lighting designer Tyler Duenow and sound designer Justin Been, as the technical elements work together well to maintain the atmosphere and mood of the play.

Good People is more than a good play. It’s a thoughtful, sometimes witty, sometimes intense play in which the characters and the setting feel authentic. The cast, and especially Byers, also make the most of the piece. It’s both entertaining and challenging, With only one more weekend of performances left, it’s certainly worth checking out.

Lavonne Byers, Laurell Stevenson, Stephen Peirick
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Good People at Tower Grove Abbey until February 26, 2022

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