Posts Tagged ‘insight theatre company’

Insight’s “Shakespeare in Love” Entertains with Strong Cast, Setting

Posted in St Louis Theatre, tagged , , , , , , , on September 5, 2019| Leave a Comment »

Shakespeare in Love
by Lee Hall (Adapted From Screenplay by Tom Stoppard and Marc Norman)
Directed by Suki Peters
Insight Theatre Company
August 30, 2019

Aaron Dodd, Michelle Hand (standing), Gwendolyn Wotawa
Photo by John Lamb
Insight Theatre Company

Shakespeare in Love is a play! Or at least, it is now. The acclaimed and somewhat controversial 1998 film was adapted for the stage by playwright Lee Hall and first produced in London in 2014. Now, Insight Theatre Company has brought the play to St. Louis in an energetic production currently on stage at the Grandel Theatre. While the show itself has a few issues in terms of translation from screen to stage, Insight has assembled a top-notch cast, and the result is a fun, highly entertaining show.

Despite the ongoing debate over its Oscar wins, my opinion on the film of Shakespeare in Love is largely positive. Maybe it didn’t deserve to beat Saving Private Ryan for Best Picture, but on its own merits, it’s a clever, witty, and enjoyable film. The play retains a lot of that wit, although the transition to the stage seems a bit clunky at times, in that the focus seems to be more on Will Shakespeare (Aaron Dodd) and his relationship to friend/frenemy/mentor Christopher Marlowe (Spencer Sickmann) than I remember from the film. Shakespeare’s unexpected paramour and muse, the idealistic Viola de Lesseps (Gwendolyn Wotawa) is still prominent, but doesn’t seem to have the same level of emphasis onstage, and Viola’s story takes something of a backseat to Shakespeare’s, particularly at the end. The ensemble nature of the piece is highlighted more on stage, as well, with a relatively large cast and some excellent featured roles. This is a good thing, although there is a lot of hopping from setting to setting that may flow well on screen, but can seem a bit abrupt on stage. Still, for the most part, it’s an engaging story, especially in the hands of director Suki Peters and the excellent cast. The love story is here, as is the generally broad comic tone with some serious overtones and themes, including the relationship between artists and their patrons; the roles of women in theatre and in society; the pressure of living up to societal expectations; the very nature of inspiration and collaboration, and their role in creating arts, and more. It’s a lively, fast-paced show that plays more as a comedy than a romance, at least on stage, and the biggest romance seems to be of writers/performers with their work, more than with a particular person.

The cast, as previously mentioned, is first-rate, led by the personable Dodd as the conflicted, earnest Shakespeare, the charismatic Sickmann as the worldly Christopher Marlowe, and the engaging Wotawa as the determined, stage-loving Viola. There are also strong performances from Michelle Hand as Viola’s devoted Nurse; Ted Drury as Viola’s oily fiance, the Earl of Wessex; and the memorable, stage-commanding Wendy Renee Greenwood in the small but pivotal role of Queen Elizabeth I. Other standouts include delightful comic performances from Joneal Joplin and Whit Reichert as theatre patron Fennyman and producer Henslowe. Carl Overly Jr. and Shane Signorino are also excellent as prominent rival actors Richard Burbage and Ned Alleyn. The whole supporting cast is strong as well, with a lot of energy and an excellent sense of ensemble chemistry. Overall, the Elizabethan atmosphere and the sense of what the theatrical world in Shakespeare’s day was like shines through with vibrant enthusiasm.

The Elizabethan flair is well-maintained through the play’s physical production, as well. Chuck Winning’s multi-level unit set is colorful and versatile, as are Julian King’s impeccably well-suited costumes. There’s excellent work from lighting designer Jaime Zayas and sound designer Robin Weatherall, as well. There is also a strong musical sense in this production, with period-style songs and score played by musicians Rachel Bailey, Chuck Brinkley, Ruth Ezell, Cara Langhauser, Catherine Edwards Kopff, and Abraham Shaw, and vocals by various cast members. The music especially works well for setting and maintaining the tone and era of the play.

Overall, I would say Shakespeare in Love on stage, as performed by Insight, is a success. The adaptation is not without its flaws, but the overall enthusiasm of the production and the superb cast make up for any script and flow issues, for the most part. It’s a fun show, ultimately, with a real sense of love for its characters, and for theatre itself. It’s worth seeing especially for the strong performances.

Cast of Shakespeare in Love
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Shakespeare in Love at the Grandel Theatre until September 15, 2019

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“The Revolutionists” Take the Marcelle by Storm in Insight’s Thoughtful Production

Posted in St Louis Theatre, tagged , , , , , on July 5, 2019| Leave a Comment »

The Revolutionists
by Lauren Gunderson
Directed by Trish Brown
Insight Theatre Company
June 29, 2019

Jenni Ryan, Kimmie Kidd, Laurie McConnell
Photo by John Lamb
Insight Theatre Company

Insight Theatre is continuing its latest season with a play by one of today’s most recognized playwrights. Lauren Gunderson’s plays have been performed by many theatre companies around the country, and in St. Louis lately, including Insight who last year was one of two local professional companies who presented Gunderson’s Silent Sky. This time, the featured show is The Revolutionists, a four-woman play that presents itself as a comedy, but has some striking dramatic twists.

The play, like other Gunderson plays I’ve seen, has a structure in which character interactions are crucial. There’s a plot, revolving around the French Revolution and specifically the Reign of Terror, and some prominent figures from that time, along with a fictional character who is something of a composite. The central figure is early feminist playwright Olympe de Gouges (Jenni Ryan), who as the play begins is struggling with how to continue her latest work-in-progress. As she struggles with style, story, dramatic form, and the purpose of her play, she comes into contact with other women who challenge her perspective. These women include determined assassin Charlotte Corday (Samantha Auch) and conflicted former Queen Marie Antoinette (Laurie McConnell), as well as Haitian activist Marianne Angelle, who is fighting to end slavery in her home country, which was then under French rule. The women share their stories and struggles with one another, encouraging Olympe to own up to her own convictions and not give into fear. Although the setting is specific, the situations and structure make the conflict more universal. It’s about France, but it also isn’t. Essentially, it’s about standing up for what one believes in, and about women making their voices heard. The interplay between the characters and witty, pointedly contemporary dialogue serve to make this show both compelling and relatable, with well-drawn characters and some fun “meta” moments thrown in along with some poignancy and an increasingly dramatic tone as the story plays out.

It’s a play essentially about the French Revolution, but it’s also “out of time” in important ways, such as language and the way in which the characters relate to one another, which is decidedly modern. It also has aspects that remind me of another Gunderson play, I and You, in some key ways that will become apparent to those who have seen both plays (although these stories are very different in other ways). The presentation of the show is unconventional, in a way, in that it’s especially minimalist, with a set by Leah McFall that consists entirely of a few period-specific furniture pieces that are used to set the tone and mood, but with the simplicity of the space highlighting the experimental tone of the play. It’s presented in the round, as well, which works especially well for the small-ish space at the Marcelle. Also of note are the costumes by Julian King, which are richly detailed and which help to emphasize the differences in situation between the characters. There’s also excellent use of lighting by Morgan Brennan that adds drama in some key scenes, and sound by Bob Schmit that provides essential context for the piece.

Even with its excellent technical aspects, the biggest asset of this production is its superb cast, led by Ryan in an impressively relatable turn as the show’s main viewpoint character, Olympe. In the midst of conflict and challenge, Ryan makes Olympe’s concerns and fears credible. She also shows strong chemistry with her castmates, who also give memorable performances. McConnell, as probably the best known character in the play, is especially strong, bringing a sense of real depth to a character who is portrayed as more complex than popular history has often painted her. It’s a winning portrayal. Kidd, as the idealistic Marianne, is also a strong presence, as is Auch in an intense portrayal as the single-minded Charlotte. It’s a impressive cast all-around, with excellent energy and rapport.

This is a play I didn’t know much about before seeing it, except for knowing a little about the history and having seen some of the playwright’s other plays. Overall, I think The Revolutionists holds up with Gunderson’s best work. It may not be the most detailed in terms of history, but I don’t think it’s trying to be. It’s more about the characters and the points they are making, which revolve around women maintaining the courage of their convictions. At Insight, it’s a dynamically staged, impeccably cast production that’s sure to provoke some compelling conversations. It’s definitely one to check out.

Jenni Ryan, Samantha Auch, Kimmie Kidd
Photo by John Lamb
Insight Theatre Company

Insight Theater Company is presenting The Revolutionists at the Marcelle Theatre until July 14, 2019

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Ideally Cast “Daddy Long Legs” at Insight is a Delightful Surprise

Posted in St Louis Theatre, tagged , , , , , , , , on April 6, 2019| Leave a Comment »

Daddy Long Legs
Music and Lyrics by Paul Gordon, Book by John Caird
Based on the Novel by Jean Webster
Directed by Maggie Ryan

March 29, 2019

 

Terry Barber, Jennifer Theby-Quinn
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company’s latest production is something of a surprise, at least to me. I wasn’t very familiar with the source material before seeing this show, and the premise seemed somewhat problematic (even creepy) to my 21st Century eyes at first glance. Still, John Caird and Paul Goron’s musical version of Daddy Long Legs has been critically acclaimed in its London, New York, and regional runs, and the casting looked good. Now, upon seeing it, I’m pleased to report that not only is the production a sheer delight–it’s in the best musical production I’ve ever seen from this company.

Looking at the plot of this show through a 21st Century lense, the plot seems at least a little suspect. A young and rich, but socially awkward benefactor chooses an orphan girl to support and send to college, and (spoiler!) it eventually evolves into a love story. There are so many potential problems with this setup just looking at it like that, but one of the most admirable things about this show is that it doesn’t ignore or gloss over the potential problems–it directly addresses them and has the characters challenge and confront them, from power imbalances to dishonesty and misrepresentation and more. Ultimately, though, it’s a story of a surprising relationship that grows from entirely different intentions. It also helps that the orphaned Jerusha Abbott (Jennifer Theby-Quinn) is already 18 when the story begins. As she explains in song, she’s “The Oldest Orphan” at the place where she grew up, the John Grier Home, feeling as if she is stuck there by her circumstances and by societal expectations. Jesper Pendleton (Terry Barber) is a man from a prestigious family who has come into wealth at young age, and is a trustee for the orphanage. He’s financed other orphans’ college educations before as an act of charity, but only with boys until Jerusha, who has impressed him with an essay she has written. Initially, it’s all anonymous and mysterious, with Jerusha expected to write letters to the pseudonymous “Mr. John Smith” with no expectation of receiving a reply. She nicknames her benefactor “Daddy Long Legs” based on catching a glimpse of his tall figure walking away, and imagines him as an old man. As her letters grow more descriptive and animated, reflecting her strong and determined personality, Jesper is increasingly impressed, to the point where he feels compelled to meet her in person, and the story–and the relationship–grow more complex, and complicated, from there. I won’t give away too much, because that would spoil the fun of this surprising, richly characterized, and musically memorable character study that’s at times funny, thought-provoking, emotionally intense, thoughtful, and heartwarming. It’s well structured, and there’s never a dull moment.

The is a two-character show, and both performers are ideally cast in their roles. Jerusha carries most of the weight of the show. She appears to be the focus character for much of the story, and Theby-Quinn is truly impressive in the role, showing off her great acting range from delightfully snarky comic moments to poignant drama, as well as excellent vocals. Barber, as the initially more mysterious Jervis, does an excellent job of showing the character’s emotional growth, starting out as rather stuffy and remote, to displaying a real depth and vulnerability that reveals itself gradually as the story unfolds. He also has a glorious voice, particularly on his character’s personal epiphany moment with the song “Charity” in the second act. The chemistry between the performers is delightful, as well, also starting out believably awkward but then growing as the characters interact more. It’s a believable progression, and their voices blend together impressively, as well.

The staging is impressive, as well, with a meticulously detailed period set and striking lighting by Rob Lippert, and marvelously detailed costumes by Julian King. Jerusha’s outfits are particularly impressive, as she goes through various costume changes onstage for a variety of authentic early 1900’s looks. The only minor distraction is Barber’s somewhat obvious wig, but all other aspects of this production are stunning. There’s also excellent work from the small band led by music director Scott Schoonover.

This is a real must-see of a show. It’s a touching, tuneful, and impeccably staged production with two top-notch leading performances and a vividly realized portrayal of its time and place. It’s not only the best musical I’ve seen from Insight. It’s up there with 2014’s stunning Death of Salesman as one of their two best overall shows I’ve been able to attend there. Daddy Long Legs is truly marvelous production.

Terry Barber, Jennifer Theby-Quinn
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Daddy Long Legs at the Marcelle Theatre until April 14, 2019

 

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Stars and Relationships Shine Through In Insight’s “Silent Sky”

Posted in St Louis Theatre, tagged , , , , , on October 25, 2018| Leave a Comment »

Silent Sky
by Lauren Gunderson
Directed by Maggie Ryan
Insight Theatre Company
October 19, 2018

silentskyinsight2

Jennifer Theby-Quinn, Elizabeth Townsend, Gwendolyn Wotawa, Chrissy Steele Photo by John Lamb Insight Theatre Company

 

Lauren Gunderson’s Silent Sky is a popular play, apparently. It has already been performed in St. Louis in an excellent production by another theatre company earlier this year, and it seems to be a favorite of various theatre companies across the country. Now, it’s onstage at the Kranzberg Arts Center in a heartwarming, superbly staged and ideally cast production by Insight Theatre Company.

The show tells the story of pioneering women in the field of astronomy, and particularly of Henrietta Leavitt (Gwendolyn Wotawa), who takes a job as a “computer” recording data at Harvard in the late 1890s and eventually makes a discovery that has far-reaching influence on the field of astronomy. She also gets to know her co-workers, fellow computers Williamina Fleming (Chrissy Steele) and Annie Cannon (Elizabeth Townsend), forming a strong bond over the years as the three do their jobs and struggle for recognition in a male-dominated field. The story also highlights Leavitt’s relationship with her sister Margaret (Jennifer Theby-Quinn), who in many ways is the opposite of Henrietta, even though they have a close bond. While Henrietta dreams of the stars and focuses on her career, the musically gifted Margaret stays home, marries and has children, encouraging Henrietta in her work but still hoping she will come visit her and their minister father more often. Although there is also a subplot involving a romantic attachment to another co-worker, Peter Shaw (Alex Freeman), the play continually makes the point that, for Henrietta, her true love is her work. The close female friendships and bond with her sister are important, as well, but ultimately, she focuses on the stars and wants to leave a legacy for those who follow after her. It’s a strong script, with well-defined characters and relationships, with an overarching theme of persistence in going after one’s goals and defying expectations.

The casting here is especially strong, with the relationship between Henrietta and Margaret a dramatic highlight, as Wotawa and Theby-Quinn give their characters a great deal of credibility. Both give thoughtful, energetic portrayals, with Theby-Quinn’s obvious musical ability on display as she plays and sings hymns and classical style music on the piano. Wotawa’s Leavitt is determined, persistent, and relatable, as well. In addition, Townsend as the tough, iconoclastic Annie and Steele as the encouraging, also determined Williamina are also excellent, as is Freeman as the initially incredulous but increasing supportive Shaw, and his scenes with Wotawa are especially strong. With such a small cast, ensemble chemistry is especially important, and this production has that, bringing the characters to life in relatable, believable relationships and motivations.

The small black box space at the Kranzberg is impressively transformed into a dynamic field of stars through the excellent set design by Constance Vale. Rob Lippert’s lighting is highly effective as well in helping achieve a starry effect. There’s also impressive work from sound designer James Blanton and costume designer Julian King, who outfits the cast in period-appropriate costumes that are well-suited to the characters’ personalities. The sense of time and place, as well as the passage of time, is well communicated here, as the story covers several decades in the characters’ lives.

As popular as this play is, and as recently as it has been performed in St. Louis, you may be wondering why you would need to see this production if you’ve seen it before. My answer to that question is this–excellence. It’s a well-told tale impressively portrayed, with especially strong performances by a standout cast. Even if you’ve seen this play before, this production is impressive in its own right. It’s a small cast show with a big scope, highlighting an important historical figure who deserves recognition, and boasting a truly wonderful cast. Go see it!

Gwendolyn Wotawa, Alex Freeman Photo by John Lamb Insight Theatre Company

Insight Theatre Company is presenting Silent Sky at the Kranzberg Arts Center until November 4, 2018.

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Insight’s “Earnest” Is a Clever, Impeccably Cast Classic

Posted in St Louis Theatre, tagged , , , , , on July 21, 2018| Leave a Comment »

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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Strong Cast Brings Life to “The Last Romance” at Insight

Posted in St Louis Theatre, tagged , , , , , on March 8, 2018| Leave a Comment »

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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Energetic “Baskerville” at Insight is Clever, Funny

Posted in St Louis Theatre, tagged , , , , , , on October 19, 2017| Leave a Comment »

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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Strong Performances Distinguish “On Golden Pond” at Insight

Posted in St Louis Theatre, tagged , , , , , on July 13, 2017| Leave a Comment »

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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An Insightful “Next to Normal” at Insight

Posted in St Louis Theatre, tagged , , , , , , on June 16, 2017| Leave a Comment »

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” at Insight Showcases Excellent Performances

Posted in St Louis Theatre, tagged , , , , , , on August 26, 2016| Leave a Comment »

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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