Posts Tagged ‘jon royal’

The Black Rep is “Flyin’ West” For a Well-Cast Lesson in History, Family, Perseverence

Posted in St Louis Theatre, tagged , , , , , on March 22, 2026| Leave a Comment »

Flyin’ West
by Pearl Cleage
Directed by Jon Royal
The Black Rep
March 14, 2026

Margery Handy, Renee Lockett
Photo by VVH
The Black Rep

The Black Rep is shining the light on a lesser-known part of American history that deserves to be remembered with their production of Pearl Cleage’s Flyin’ West. Under the direction of Jon Royal, the show highlights a real town and moment in Black history while also focusing on the family dynamics of a group of sisters and their relations. Although the story itself has its predictable elements, the characters are memorable and well-drawn, especially as played by the excellent cast assembled for this well-realized production. 

The setting is a farmstead near the all-Black town of Nicodemus, Kansas, which is a real place that is now a National Historic Site.  The main focus is on three sisters who left Jim Crow-dominated Memphis, TN to settle out West and make a new life as landowners. The oldest, Sophie (Margery Handy) and middle sister Fannie (Jazzma Pryor) are living on the property while youngest sister Minnie (Christina Yancy) has been living in London with her ambitious writer husband, Frank (Aaron Allen).  Sophie is trying to help pass a bill that will discourage white land speculators from buying up the property in the area, while Fannie is hoping to write down stories of past struggles from their older neighbor, Miss Leah (Renee Lockett), while also entertaining a promising friendship with another neighbor, Wil (Reginald Parrish), who is clearly interested in Fannie. Meanwhile, Minnie’s 21st birthday brings a gift which she and Frank view with drastically different motivations, ultimately leading the sisters to a decision point and a challenge to their hopes and ambitions for the family and the town.

While the script itself is fairly predictable and the ending is a little too neat, the characters are expertly drawn and the relationships are entirely credible, especially as acted by the fantastic cast. The relationship between the sisters is the highlight, and all three performers make their characters distinct and believable, led by Handy in the fiercely determined turn as the strong-willed Sophie. There’s also a sweet connection between Pryor’s thoughtful Fannie and Wilson’s kindhearted Wil. That relationship serves as a contrast to the one between Yancy’s homesick Minnie and Allen’s troubled Frank. Lockett is also excellent as the cranky but endearing Leah. All of the various interactions and conflicts form the heart of this story, as do the underlying issues concerning how the characters and their situations have been affected by the oppressive society in which they were brought up.

The Black Rep is utilizing a new venue for this production, the Ross Family Theatre at the Kirkwood Performing Arts Center, which is perhaps most well known as the home of Stages St. Louis. The space works well for this show, with a more “up close and personal” audience setting than the company’s most frequent venue, Washington University’s Edison Theatre. The set by Chris Cumberbatch fits well on the stage, and depicts a well-realized cross section of the family’s home. It’s illuminated with clarity by means of Essie Claire Winston’s excellent lighting, adding much to the mood and period vibe, augmented by the sound design by Justin Schmitz. There’s also strong work from costume designer Michele Siler and props designer Mikhail Lynn, further contributing to the overall time and place of the story. 

Flyin’ West is a fascinating history lesson, with memorable characters and a convincing blend of humor and drama. It highlights a period in history that should be more well known, and serves also as a portrait of resilience, family loyalty, struggles with systemic oppression, and the persistent desire for freedom in all aspects of life. It’s another excellent production from the Black Rep. 

The Black Rep is presenting Flyin’ West at the Ross Family Theatre at the Kirkwood Performing Arts Center until March 29, 2026

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The Black Rep’s “Radio Golf” Features Strong Cast, Compelling Story

Posted in St Louis Theatre, tagged , , , , , on May 31, 2025| Leave a Comment »

Radio Golf
by August Wilson
Directed by Jon Royal
The Black Rep
May 23, 2025

Reginald L. Wilson, Ronald L. Conner, Velma Austin
Photo by Keshon Campbell
The Black Rep

The Black Rep is one of the most consistently excellent theatre companies in St. Louis, and their latest production, August Wilson’s Radio Golf, is a remarkable example of that excellence. Directed by Jon Royal, Wilson’s insightful drama features a first-rate cast and an insightful, challenging script by one of America’s more celebrated playwrights. Even though it takes place in 1997, this story still resonates in a lot of areas of this country today. 

This is the final play in Wilson’s “Century Cycle”, which the Black Rep has now produced in its entirety twice over the years. Each play takes place in a different decade of the 20th Century, mostly in the Hill District of Pittsburgh, PA. Here, it’s 1997, and the neighborhood has been in a consistent period of decline. Real estate agent and aspiring mayoral candidate Harmond Wilks (Reginald L. Wilson) opens up an office in the area for Bedford Hills Redevelopment, Inc.–an organization he runs along with his wife Mame (Velma Austin) and college friend and banking executive Roosevelt Hicks (Ronald L. Conner).  The organization is planning to break ground soon on an ambitious residential and retail production with the aim of revitalizing the neighborhood, although that aim also requires the demolition of many of the existing structures in the area. Amid personal ambitions and goals for the neighborhood and city, the group is presented with a new obstacle in the form of Elder Joseph “Old Joe” Barlow (Ron Himes), who has apparently been bought out by the corporation but is still making efforts to paint and maintain his house, to the increasing consternation of Harmond and especially Roosevelt. Upon researching the matter, Harmond is increasingly troubled by what he finds concerning the legality of his company’s efforts to purchase the house. Longtime neighborhood resident Sterling Johnson (Kelvin Roston, Jr.)–who went to school with Harmond–supports Old Joe and organizes community protests to save the house. As the situation goes on, Harmond faces the dilemma of what to do and where his loyalties and sense of morality lie.

The play takes a personal look at real issues that still face American cities today, with older, declining, and largely Black neighborhoods seeking recovery, and debates about what true revitalization should look like, as corporate interests clash with the needs and desires of longtime community residents. Harmond, who grew up in the neighborhood and whose desire to “save” it seems genuine, is thrust into the center of the debate as his loyalties and goals are tested. It’s a fascinating play, with well-drawn characters who make a strong impression on the audience, especially as played by the excellent cast assembled here by director Royal. 

As Harmond, Wilson is an ideal protagonist, conveying real sympathy as well as a credible struggle as his goals, hopes, and plans are challenged. Wilson projects a realistic air of leadership and compassion that help make his dilemma believable. Wilson is supported by Austin in a credible turn as the increasingly conflicted Mame, who obviously loves Harmond but is increasingly confused by his actions and intentions. Conner, as Roosevelt, is also strong as the upwardly mobile, golf-loving Roosevelt, whose quest for corporate success provides a challenge to Harmond’s dilemma. There are also especially strong turns from Roston as the principled Sterling and especially Himes in a fantastic, scene-stealing performance as Old Joe, who becomes the emotional and moral heart of this show. 

The world and era of the play are well-realized by means of Jim Burwinkel’s well-appointed set and Mikhail Lynn’s excellent props. The costumes by Shevare Perry are detailed and suited to the period and characters, as well. There’s also fine work from lighting designer Jayson Lawshee and sound designer Justin Schmitz, helping to maintain a consistent atmosphere for the story.

The Black Rep does great work, and Radio Golf is an impressive example of a superlative theatrical tradition. It’s a compelling, still-relevant play by an important playwright, well cast and well staged. It speaks not only to the 1990’s, but also to today. 

Ron Himes
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Radio Golf at Washington University’s Edison Theatre until June 8, 2025

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