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Posts Tagged ‘insight theatre company’

The Importance of Being Earnest
by Oscar Wilde
Directed by Ed Reggi
Insight Theatre Company
July 12, 2018

Will Bonfiglio, Julia Crump, Gwen Wotawa, Pete Winfrey
Photo by John Lamb
Insight Theatre Company

The Importance of Being Earnest is a classic play that has been performed and taught in school literature classes for many years. Despite this ubiquity, though, I had never seen the play live before–I had only seen filmed versions. Now, Insight Theatre Company has given me and theatregoers in St. Louis the opportunity to see this legendary example of writer Oscar Wilde’s wit and characterization. It’s a great script, and Insight has brought it to the stage at the Grandel Theatre with an excellent cast and well-paced staging.

This is a prime example of an English “Drawing Room Comedy”, and a particularly madcap one at that, with loads of witty banter and plot twists involving mistaken identity, long-held family secrets, romantic complications, and more, all taking place in the world of upper-class Victorian English society. The story centers on two young friends, bachelors Algernon “Algie” Moncrieff (Will Bonfiglio) and John “Jack” Worthing (Pete Winfey), and on the significance of the name “Ernest”, which is how Jack has been identifying himself to Algie until circumstances force him to admit that he’s been posing as his own imaginary younger brother as an excuse for his many pleasure-seeking jaunts to London from his country estate. When Jack tells Algie about his life at the “Manor House”, and especially of his young ward Cecily Cardew (Julia Crump), Algie gets an idea that eventually stirs up even more trouble that eventually involves everyone closest to both men, including Cecily’s governess Miss Prism (Ruth Ezell), clergyman Dr Chasuble (Steve Springmeyer), and the object of Jack’s affection, Algie’s cousin Gwendolyn Fairfax (Gwen Wotawa), who is the daughter of the well-connected Lady Bracknell (Tom Murray). The situations all resolve in a hilarious way, relying largely on sharp satirical comedy and Wilde’s sharp, witty dialogue.

This is a funny play to read, but it’s even funnier on stage, brought to life in vibrant, face-paced style by director Ed Reggi and a wonderful, ideal cast. Bonfiglio, as the mischievous Algie, and Winfrey, as the somewhat bewildered Jack are the core of this production. Their banter is a highlight of the show. There are also delightful performances from Wotawa and Crump as the sometimes friendly, sometimes combative Gwendolyn and Cecily. Both performers have excellent chemistry with their respective love interests, as well, and Wotawa especially pronounces Wilde’s clever dialogue with a sense of polished delight. Murray is also a treasure as the imperious Lady Bracknell. Ezell as the secretive, protective Miss Prism and Springmeyer as the loyal Dr Chasuble are also strong, as is Spencer Kruse in a dual role as two different butlers. The cast here is cohesive and energetic, doing justice to Wilde’s script. As clever as the dialgoue is, this is somewhat of a talky play, so it requires excellent timing and presence–and this cast delivers that with verve and deliciously droll style.

The Victorian atmosphere of the production is well-maintained here, with excellent costumes by Laura Hanson and a well-appointed set by Sucas Shryock. Tony Anselmo’s lighting and James Blanton’s sound design also lend to the overall whimsical mood of the show. Kudos also to dialect consultant Jeff Cummings and the entire cast for the constistent, appropriately posh English accents.

This is a show that’s been performed countless times throughout the world for over 100 years, and it still holds up in terms of story, comedy, and the oh-so-witty dialogue. The Importance of Being Earnest is a classic for good reason, and Insight’s production certainly does it justice. It fits well in the newly restored Grandel Theatre. There’s stil time to catch it. I highly recommend it!

Cast of The Importance of Being Earnest
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting The Importance of Being Earnest at the Grandel Theatre until July 22, 2018.

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The Last Romance
by Joe DiPietro
Directed by Alan Knoll
Insight Theatre Company
March 3, 2018

Tommy Nolan, Joneal Joplin
Photo by John Lamb
Insight Theatre Company

Now onstange at the Kranzberg black box, Insight Theatre Company’s latest production is Joe DiPietro’s romantic comedy-drama The Last Romance. A look at love, life, loss, and opera, the show boasts a top-notch cast of veteran St. Louis performers. It’s a small-ish play, with a close focus on well-drawn characters and a somewhat melancholy air.

The story follows 80-year-old Ralph Bellini (Joneal Joplin), a widower and lifelong opera lover in New York City who once had an audition with the Met. He lives with his sister Rose (Maggie Ryan) in a small apartment and has a relatively routine, predictable life until one day when he spots Carol (Tommy Nolan) at a local dog park and makes an effort to get to know her.  Carol, for her part, is initially reluctant to engage with Ralph, and she’s got a few secrets she’s not eager to share. Rose, in the meantime, has her own issues that make her a little more protective of Ralph than may be expected. Ralph is also accompanied by memories of his past, represented by The Young Man (Clark Sturdevant), who appears in flashbacks and fantasy moments singing a selection of classic operatic arias, usually as a reprentation of the younger Ralph. It’s a simple, character-focused story with humor, music, and a good amount of reflective drama, played well by the excellent cast.

Joneal Joplin is, as usual, excellent as Ralph. With his prolific theatrical career, Joplin can be expected to turn in a strong performance, and he does so here as the persistent, personable, somewhat regretful Ralph. His chemistry is strong with Nolan’s evasive and also compelling Carol, as well as the equally strong Ryan in a poignant performance as the overprotective Rose. Sturdevant is in excellent voice and has a strong presence as the Young Man, as well. The real heart of this play is in its relationships, and all of the cast members work together well to present a touching, believable emotional journey. There’s also a memorable appearance from Yorkshire terrier Oscar as Carol’s dog, Peaches.

The atmosphere here is at once realistic and fantastical. The set by Landon Shaw represents the New York park setting well, as well as Ralph and Rose’s small apartment and a few other locations as needed. There’s also an ethereal air lent by Geordy Van Es’s lighting and Robin Weatherall’s sound design that adds to the flashback sequences and musical interludes. Teresa Doggett’s costume design is appropriately on point, as well, and director Alan Knoll’s staging is intimate and personal, effectively showcasing the insightful script and excellent cast.

The Last Romance isn’t a big, flashy play, and the situations presented aren’t flashy or spectacular either. These are more of the authentic, “every day” moments of a long life full of regret as well as joy. The alternately melancholy and hopeful air is well-portrayed in the music, as well. There’s a great cast here, of great local performers, telling a story with a lot about which to relate, no matter your age, and even though it’s not a musical, music a vital part of this story. It’s well worth seeing, and hearing.

Maggie Ryan, Joneal Joplin
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting The Last Romance at the Kranzberg Arts Center until March 18, 2018.

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Baskerville: A Sherlock Holmes Mystery
by Ken Ludwig
Directed by Maggie Ryan
October 14, 2017

John O’Hagan, Gwen Wotawa, Elliot Auch, Kent Coffel
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is closing out their latest season with a comic mystery that’s familiar in more ways than one.  Baskerville: A Sherlock Holmes Mystery is another telling of a well-known story about a well-known literary detective, but its style is also somewhat familiar, calling to mind another popular theatrical comedy thriller. At Insight, this story benefits from an impressive cast and some clever staging.

The first thing that came to my mind when reading about the structure of this show wasn’t Sherlock Holmes but another popular mystery story that’s been given the comic theatrical treatment, The 39 Steps. Like that popular and often-staged play, Baskerville is staged with a small cast, and with some of the cast members playing a wide variety of characters. It also has some similar staging conventions and pacing. Still, it stands well on its own without appearing merely derivative. The story is based on one of Arthur Conan Doyle’s more well known Holmes tales, The Hound of the Baskervilles. The characters of Holmes (John O’Hagan) and Dr. Watson (Kent Coffel) are central, especially Watson in this staging. All the other characters are played by three performers, billed as Actor 1 (Elliot Auch), Actor 2 (Ed Reggi), and Actress 1 (Gwen Wotawa). The story follows Holmes and Watson as they investigate a strange case involving a murder on a moor bordering a country estate and an old family legend of a gigantic killer hound. The estate’s heir is transplanted Texan Sir Henry Baskerville (Reggi), who gets a note warning him to stay away from the moor. Watson then goes with him to his newly inherited estate to try to figure out what’s going on. Much intrigue, scheming, and hilarity follows, as the various characters and would-be suspects are introduced, and as the plot is further complicated by an unexpected romantic entanglement.

Although this is billed as a Sherlock Holmes story, it’s actually Watson who seems to get the most stage time, and Coffel plays his role with charm and energy. O’Hagan is also excellent as the brilliant but evasive Holmes. The other three players, each playing a number of roles, are excellent as well, with Auch displaying a variety of accents in various roles ranging from Baskerville neighbor Dr. Mortimer, to mysterious and butterfly-obsessed Jack Stapleton to a young informant helping Holmes. Reggi plays the friendly but bewildered Baskerville and a number of other roles, including the gruff Inspector Lestrade, among others. There’s some particularly clever staging involving an extremely quick character change by Reggi that provokes a big laugh from the audience. Wotawa rounds out the cast in a variety of roles ranging from various women involved in the case–particularly Beryl, who becomes involved with Sir Henry–as well as a young boy who helps Holmes gather information in London. The staging involves a lot of quick costume changes, as well as some self-referential humor, and it’s all performed with a lot of enthusiasm by this energetic ensemble.

The set, designed by Matt Stuckel, is versatile and works well for the quickly moving nature of this play. With movable set pieces and a prominent video screen, the locations can be set easily and moved around with speed. There’s also excellent atmospheric lighting by Connor Meers and strong sound design by Robin Weatherall, providing the various affects needed for the situations, from comic to spooky. All the technical elements work together well to help tell this story and facilitate the high-energy, always moving style of the show, as well as the traditional “Sherlock Holmes” look.

Baskerville is a lot of fun.  It’s a well-timed and cleverly staged production that provides a lot of opportunities for versatility among the cast members. It’s Sherlock Holmes, but not like you may expect. It’s a memorable way for Insight to close a successful season.

Ed Reggi, Kent Coffel, Elliot Auch
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Baskerville: A Sherlock Holmes Mystery at the .Zack Theatre until October 29, 2017

 

 

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On Golden Pond
by Ernest Thompson
Directed by Trish Brown
Insight Theatre Company
July 7, 2017

Susie Wall, Joneal Joplin
Photo by John Lamb
Insight Theatre Company

On Golden Pond is a play that’s perhaps best known by its film adaptation, starring movie legends Henry Fonda and Katharine Hepburn. The play itself has been seen as a showcase for distinguished peformers, and Insight’s latest production is a prime example, featuring a cast of excellent and award-winning local performers, and particularly in its two lead roles, played by the talented and prolific Joneal Joplin and Susie Wall.

This is a play that’s more character-driven than story-driven. The story is fairly slight, in fact. It’s a look at a long-married couple spending the summer at their lake house in Maine, like they have for the previous 47 years. Norman Thayer, Jr. (Joplin) is a retired university English professor, and he’s become increasingly curmudgeonly as he approaches his 80th birthday. His more optimistic wife, Ethel (Wall), grows weary of Norman’s constant talk about death and his strained relationship with their middle-aged daughter, Chelsea (Jenni Ryan), who has come to visit for Norman’s birthday with her new boyfriend, dentist Bill (Eric Dean White) and his 15-year-old son Billy (Michael Pierce) in tow. The “story” here is about the relationships, and how Norman and Ethel come to terms with aging and with the reality of the idea that each new summer at Golden Pond may be their last. It explores themes of aging, regret, broken and reconciling relationships, inter-generational friendships, and more while providing an excellent showcase for the actors involved.

And “the actors involved” are remarkable. Joplin, one of St. Louis theatre’s most prolific actors for the past few decades, has an ideal role here with Norman. Despite the more unsavory aspects of the character–his negativity and particularly his casual bigotry–Joplin’s considerable skill as an actor brings out the sympathy in Norman’s situation, and particularly in his relationships with Ethel, Chelsea, and Billy. Wall matches Joplin in every way as well in a formidable portrayal of the insistently, persistently optimistic Ethel, and their chemistry is heartwarmingly credible. There are also strong performances from the supporting cast–Ryan as the wounded but hopeful Chelsea, Pierce as the initially moody Billy–who bonds with Norman over fishing–White in the small role of the loyal new boyfriend Bill, and also from Kurt Knoedelseder as the sweet, slightly goofy local mailman Charlie, who grew up in the area and knows the family well.

The setting is well-realized, with Matt Stuckel’s detailed set bringing the rustic summer home to life with meticulous authenticity. The digital screen serving as the picture window overlooking the lake provides a nice atmospheric touch, and Robin Weatherall’s sound design contributes to the overall effect as well, as does Geordy Van Es’s lighting. My only small quibble is that the script, written in the late 1970s, doesn’t always lend well to the updating of the setting to the present day, as this production has done. Some of the dialogue and situations make more sense with the earlier setting.

There’s drama and a good amount of humor in On Golden Pond, with its somewhat talky story and with those richly portrayed characters, with the lake house itself becoming a prominent character as well. There isn’t a lot in terms of action, but at its best, it’s a moving look at aging, youth, family, and the power of memory and hope. The heart of the show, however, is the relationship between Norman and Ethel, which is touchingly portrayed here by two superb veteran St. Louis performers.

Jenni Ryan, Susie Wall
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting On Golden Pond at the .Zack Theatre until July 23, 2017.

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Next to Normal
Book and Lyrics by Brian Yorkey, Music by Tom Kitt
Directed by Edward Coffield
Insight Theatre Company
June 9, 2017

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John Flack, Debby Lennon, Spencer Davis Milford Photo by John Lamb Insight Theatre Company

Insight Theatre Company is opening its 10th season in a new venue, and starting off with a highly regarded, Pulitzer Prize-winning musical, Next to Normal. This small-cast show is an ideal fit for the .Zack in Grand Center. It’s a challenging, highly emotional show with a demanding score, and Insight has assembled an excellent cast, presenting the show in a somewhat different manner than I have seen before, and it works very well.

When I first heard of the casting for this production, I was expecting it to be good, especially since the lead role of Diana Goodman would be played by last year’s St. Louis Theater Circle Award winner for Best Actress in a Musical, Debby Lennon. And Lennon isn’t the only seasoned performer in this excellent cast. John Flack as Diana’s husband Dan, Ryan Scott Foizey as the doctors, and Spencer Davis Milford, as the Goodmans’ son Gabe have all done some excellent work in St. Louis theatre. They are joined by extremely promising newcomers Libby Jasper as the Goodmans’ conflicted teenage daughter Natalie, and Max Bahneman as Natalie’s on-again/off-again boyfriend Henry. It’s a story that focuses largely on Diana’s experiences with trying to manage her mental illness and her complicated family relationships, and also on Natalie’s struggle to deal with her own issues involving her family and her future plans. There isn’t a whole lot else I can say without spoiling too much, because this is a show that depends a lot on twists and revelations, although the central family relationships are at its core, with a strong musical score that ranges from more upbeat rock-based numbers to slower, emotional ballads. It’s a challenging work, and when staged well as it is here, it’s riveting.

This production is a little different than others I’ve seen, in terms of staging and vocals. Staging-wise, the pacing is a little slower than previous productions, with some of the line-deliveries being a little more subdued. The plot build-up seems to be more gradual as a result, and despite a slow-ish start on “Just Another Day”, the performances are excellent and well-timed. The set, designed by Robbie Ashurst, and the lighting by Charlotte Webster are more colorful as well, with an emphasis on a series of windows of varied hues hanging in the background, and aside from one slightly raised platform, most of the action takes place at stage level, also contrary to other performances I’ve seen. The costumes by Laura Hanson are appropriate and well-suited to the characters, and there’s also excellent musical direction by Ron McGowan, with a slightly different sound reflective of Lennon’s more operatic voice.

The cast is excellent, led by Lennon in a sympathetic, emotional performance as Diana, with powerful vocals on songs like “I Missed the Mountains”, “I Dreamed a Dance”, and “You Don’t Know”. Flack is also excellent as Diana’s supportive but increasingly exasperated husband, Dan. His scenes with Lennon carry a lot of power, and he brings a great deal of emotional energy to his songs, especially “I’ve Been” late in Act 1. There are also strong performances from the rich-voiced Jasper as the determined but conflicted Natalie, and by Bahneman as her sweet, persistent stoner boyfriend Henry. Milford is outstanding and full of energy as the dynamic, influential and mysterious Gabe as well, excelling especially on Gabe’s most well-known number “I’m Alive”. There’s also excellent work from Foizey as the two doctors, particularly the “rock star” Doctor Madden, although he does sound a little strained at times.

Next to Normal is a powerful, challenging show. It’s a character study as well as a story of relationships, and strong casting and musicality are essential. Those aspects are well represented in this memorable production from Insight Theatre. Although it takes a few minutes to really get going, once it does it’s engaging, fascinating, and highly affecting. It gets Insight’s new season in its new home off to an excellent start.

Ryan Scott Foizey, Spencer Davis Milford, Debby Lennon
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Next to Normal at the .Zack Theatre until June 25, 2017.

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Inherit the Wind
by Jerome Lawrence and Robert Edwin Lee
Directed by Sydnie Grosberg Ronga
Insight Theatre Company
August 18, 2016

Alan Knoll, John Contini Photo by John Lamb Insight Theatre Company

Alan Knoll, John Contini
Photo by John Lamb
Insight Theatre Company

Inherit the Wind is Lawrence and Lee’s classic play that highly fictionalizes events relating to one of the 20th Century’s most famous trials in order to communicate the playwrights’ message. It has been performed by countless professional, amateur, and school theatres over the years and it has been filmed several times. Now, Insight Theatre Company has brought this well-known play to the stage in St. Louis, featuring a cast of excellent local actors and boasting impressive production values.

The story of this play isn’t really about the Scopes trial. It’s the playwrights’ imagining of the trial seen through the lens of 1950’s McCarthyism and anti-intellectualism. The playwrights weren’t shy about saying that, notably mentioning in their preface to the script that this isn’t intended to be a historically accurate portrayal. If you want an accurate representation of what happened in Dayton, TN in 1925, there are much better resources, but the purpose of this play was never to teach a history lesson about the trial or the real people involved, and some key characters and situations have been entirely invented. Its William Jennings Bryan stand-in, Matthew Harrison Brady (Alan Knoll) comes across as more McCarthy-as-Bryan, for instance, and the primary “every day person” representative, Rachel Brown (Sigrid Wise), is an entirely original character.

The basic framework of the Scopes trial is here, though, with Brady coming to town to lead the prosecution of high school teacher Bertram Cates (Pete Winfrey) who’s been arrested for violating the state’s law against the teaching of evolution. Defending Cates is the play’s Clarence Darrow figure, the intrepid, thoughtful Henry Drummond (John Contini). The town, as portrayed here, is dominated by fundamentalist zealots who welcome the much-admired Brady with parades and prayer meetings while the agnostic Drummond becomes a target for suspicion and scorn. His biggest ally is the cynical Baltimore reporter E. K. Hornbeck (Jason Contini), who snarks his way through the ensuing trial and doesn’t bother to conceal his contempt for the town and its people. Drummond gets to be the hero here, as the representative of free thinking in a repressive society, as Brady in all his grandiosity represents repression, misplaced nostalgia, and fear of change and new ideas. In the midst of all of the debates and sensationalism we see the conflicted Rachel trying to figure what influences to follow–the past and blind obedience to tradition as represented by her father (Michael Brightman), an influential local preacher, and championed by the charismatic Brady; or the free exchange of ideas personified by Cates and, to an even larger degree, Drummond.

The two central figures in all this drama are undoubtedly Drummond and Brady, and the success of any production of this play depends largely on the casting of these two pivotal roles. In this production, the leads are extremely well-chosen. Both actors have considerable stage presence, keeping the audience’s attention riveted when they are on stage. Knoll’s Brady is full of bombast and pride, but also a real note of humanity, and John Contini’s Drummond is sympathetic, determined, and likable. Their courtroom scenes are dynamic, although their best moment is at the end of Act 1 as they sit together on a bench, reflecting on their past friendship and the direction their lives have taken. Other notable performances include Winfrey and Wise as the earnest Cates and conflicted Rachel, and Jason Contini as the proudly cynical Hornbeck. Brightman, as Reverend Jeremiah Brown, also makes the most of a role that’s written to be one dimensional. There’s a strong ensemble, as well, playing various townspeople and figures in the trial.

Visually, the re-creation of a 1920’s small town is well done, with Kyra Bishop’s excellent set and Tracey Newcomb-Margraves costumes setting the mood and atmosphere well, although there was apparently a somewhat strange decision to have most of the jury wearing modern clothes with only a few accessories (hats, shawls, etc.) to suggest the time period. Sean Savoie’s lighting and Brett Harness’s sound design also contribute well to the overall tone of the production.

Inherit the Wind has a message that still resonates today, about freedom of expression and the dangers of a restrictive, anti-intellectual society. In terms of style, it does come across as somewhat dated although the performances can make a production. That’s the case with this production at Insight, with two extremely strong leads and a memorable supporting cast making for a fascinating, thought-provoking story.

Sigrid Wise, Pete Winfrey, John Contini Photo by John Lamb Insight Theatre Company

Sigrid Wise, Pete Winfrey, John Contini
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Inherit the Wind at Nerinx Hall’s Heagney Theatre until August 28, 2016.

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John & Jen
Book by Andrew Lippa and Tom Greenwald
Lyrics by Tom Greenwald, Music by Andrew Lippa
Directed by Trish Brown
Insight Theatre Company
July 15, 2016

Spencer Davis Milford, Jenni Ryan Photo by John Lamb Insight Theatre Company

Spencer Davis Milford, Jenni Ryan
Photo by John Lamb
Insight Theatre Company

Brother and Sister. Mother and Son. These are important relationships to which many theatre goers will be able to relate, dealt with in Andrew Lippa and Tom Greenwald’s two-person musical John & Jen, which is currently being presented by Insight Theatre Company. The production is well-cast, for the most part, and provides an intriguing look at one woman and two important relationships in her life.

The story features two performers playing the characters at various ages and stages of their lives. Jen Tracy (Jenni Ryan) is six years old when her brother John (Spencer Davis Milford) is born, and we get to see the dynamics of their relationship as both grow up and learn to deal with the world around them and with a domineering, sometimes violent father. Jen’s wish to protect her brother conflicts with her desire to get away from her hostile home environment, and as she goes to college in the 1960’s and gets caught up in anti-war activism, John stays home under the influence of his father and eventually finds his own views about the war and life conflicting with Jen’s. This relationship has a profound impact on Jen, who later names her own son (also Milford) after her brother. We get to watch as Jen becomes a loving but sometimes overprotective mother, and as young John grows and learns to assert his own independence. The mother-son relationship is alternately strong and strained, as Jen learns to deal with her own personal issues regarding her brother and how she relates to her son.

There isn’t a lot more detail I can go into without spoiling too much, but essentially this is a character study. The primary focus is on Jen, with relationships with her brother and son providing insight into her own issues of attachment, guilt, and conflict about how to be a good mother to her son. The two performers give strong performances, with both convincingly portraying the characters at different ages, and with Milford especially doing an excellent job distinguishing between the two characters he plays, both named John. Milford also has a strong singing voice, performing the show’s songs well and displaying a great deal of energy on songs like “Dear God”, “Little League”, and “Bye Room”. Ryan, while giving a convincing acting performance, sometimes struggles with the singing, particularly as many of the songs seem a little to high for her range. Both performers portray convincing relationships, first as brother and sister, and then as mother and son, and the conclusion of the play is particularly affecting.

The show is performed on a minimalist set designed by Kyra Bishop–consisting of a series of ramps, platforms, a wall, and a swing– that provides an effective backdrop for the action of the show. There’s also excellent use of projections–also designed by Bishop and filmed by David Sanford–and Leah McFall’s excellent costumes to effectively portray the changing times as the story moves from the 1950’s and eventually into the 1980’s.  There’s also excellent lighting from Oliver Littleton and sound by Brett Harness.

John & Jen provides a lot for audience to think about, although the underlying message can be unclear at times. For the most part, though, this is a vivid, interesting character study looking at three people over the course of four decades of American history. Although the history is there as a backdrop, this is primarily a personal story, and as that it’s compelling to watch.

Spencer Davis Milford, Jenni Ryan Photo by John Lamb Insight Theatre Company

Spencer Davis Milford, Jenni Ryan
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting John & Jen at Nerinx Hall’s Heagney Theatre until July 31, 2016.

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