Posts Tagged ‘karen pierce’

WEPG Explores Relationship Possibilities With Fascinating “Constellations”

Posted in St Louis Theatre, tagged , , , , , on February 15, 2025| Leave a Comment »

Constellations
by Nick Payne
Directed by Karen Pierce
West End Players Guild
February 13, 2025

Caleb D. Long, Summer Baer
Photo by John Lamb
West End Players Guild

For Valentine’s season this year, West End Players Guild is looking at a relationship at various angles. Exploring the idea of a “multiverse” and all the endless possibilities of how two people can meet, form or not form a relationship, and experience the triumphs and tragedies of life, Constellations is already an intriguing show, and I’ve seen it done well by another local company a few years ago. At WEPG, however, director Karen Pierce and two excellent actors find even more fascinating drama in this already rich script. 

Roland (Caleb D. Long) and Marianne (Summer Baer) are a pair of English would-be lovers who meet and get together, or not–and then break up, or not, in various ways. Marianne works in quantum physics at Cambridge, and she brings up the concept of a “multiverse” in describing her work, but the structure of the play explores that idea in the various moments in the couple’s relationship. The story is sort of linear, with occasional time jumps to a later period in which a serious and potentially tragic situation is occurring–again, in a variety of ways. It’s a fascinating play, as the various replayed scenarios explore the characters and how they relate, as well as playing out the oft-pondered  idea of “what would happen if you changed this one small thing?”  It’s a show full of wit, humor, and poignant drama, with the fascinating conceit of the multiverse serving as a way of further exploring the personalities of these intriguing characters and their relationship. 

The production values are deceptively simple, with director Karen Pierce designing the set and the lighting as well, with Ted Drury designing the sound. All the technical elements serve the story, but there isn’t anything flashy or elaborate. It’s just two people on a mostly bare stage, with staging, pacing, and lighting enhancing the mood as needed and aiding quite a bit in adding clarity to the story. The main focus is on the characters, and the marvelous performances of the two actors, who both turn in remarkable performances. Their chemistry is believable and compelling, with Long’s somewhat geeky and earnest Roland and Baer’s more impulsive, outgoing Marianne working well together, and Baer especially bringing out a wide range of emotions as her character arc (or arcs, really) drives the story for the most part. 

If you’ve ever found yourself wondering “what would my life be like if…”, then Constellations is a show for you. At WEPG, it’s a profound and compelling experience anchored by excellent acting and brisk pacing. It’s a contemplative, dynamic show that’s sure to provoke a lot of thought and discussion. 

Caleb D. Long, Summer Baer
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Constellations at Union Avenue Christian Church until February 16, 2025

Read Full Post »

“Dark Matters” is Chilling, Fascinating at WEPG

Posted in St Louis Theatre, tagged , , , , , on April 11, 2024| Leave a Comment »

Dark Matters
by Roberto Aguirre-Sacasa
Directed by Karen Pierce
West End Players Guild
April 5, 2024

Cory Burke, Joseph Garner, Suki Peters, Ben Ritchie
Photo by John Lamb
West End Players Guild

West End Players Guild is venturing into science fiction and mystery with its latest production. Playwright Roberto Aguirre-Sacasa’s suspenseful, intriguing Dark Matters proves to be a fascinating story with an increasingly chilling tone. With strong direction and four convincing performances, this play tells its story well, with enigmatic characters and a challenge for the audience concerning what–and who–to believe. 

The story is narrated occasionally by Jeremy (Cory Burke), a teenager whose parents have recently moved the family from Washington, DC to a small mountain town in Virginia. As the story begins, Jeremy’s father Michael (Joseph Garner) is concerned that his wife, Bridget (Suki Peters) has gone missing. The local Sheriff, Benjamin Egan (Ben Ritchie) is working with Michael to figure out what’s happened, and his questioning gets more and more intrusive, calling into question Bridget’s mindset and pre-disappearance activities. Meanwhile, Jeremy has been rummaging in the attic and has found writings by Bridget that suggest she really believes in aliens from outer space, rather than just researching them for a book as Michael has told the sheriff. Soon, however, Bridget returns with a story that seems too strange to be believed, and Michael grows even more suspicious, while Jeremy is more inclined to believe his mom and the Sheriff continues to ask questions. 

That’s about all I can say without spoiling, and make no mistake–it’s the sense of building suspense and mystery that makes this show as effective as it is. That sense of something being “off” but not being sure what the truth actually is, and where this story is all leading, even at the very end, is what makes this play so powerful and spine-tinglingly chilling. The well-paced direction by Karen Pierce, and the strong performances of all the players make this worth seeing. From Garner’s increasingly doubtful and unhinged Michael, to Burke’s devoted, alternately hopeful and frightened Jeremy, to Ritchie’s matter-of-fact and increasingly enigmatic Sheriff Egan, to Peters’ fully convinced and persistent Bridget–the whole cast is excellent. It’s not always clear what to believe, but one sure thing is that the acting is superb, and the ensemble is cohesive and impressive.

The set by director pierce makes good use of the stage in the basement of Union Avenue Christian Church, as well as the area in front of the stage. The lighting by Jacob Winslow and sound by Morgan Maul-Smith add to the overall mysterious atmosphere and growing sense of urgency. 

Dark Matters is fully engaging and compelling theatre, especially for viewers who like mystery and science fiction. It’s a human drama with an otherworldly air, and after its conclusion, questions still linger. There’s a lot to think about here. Who, and what, do you believe? That’s a question that will be surely talked about for a while after seeing this remarkably well-staged play.

Suki Peters, Joseph Garner
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Dark Matters at Union Avenue Christian Church until April 14, 2024

Read Full Post »

Tesseract Sings a Full Range of Emotions in New “Pop Song”

Posted in St Louis Theatre, tagged , , , , , on July 10, 2022| 1 Comment »

The Length of a Pop Song
by Taylor Gruenloh
Directed by Karen Pierce
Tesseract Theatre Company
July 9, 2022

Donna Parrone, Rhiannon Skye Creighton
Photo by Taylor Gruenloh
Tesseract Theatre Company

 

The Tesseract Theatre Company is opening its 2022 Summer New Play Series with an emotional work by the company’s Artistic Director, Taylor Gruenloh. The Length of a Pop Song is a somewhat heavy play, featuring some particularly frank discussions of difficult topics. It’s not without hope, however, portraying one young woman’s struggle with her own difficult life and how to deal with the way she has been treated by others. It focuses on three important relationships in her life–two with people, and one with pop music. Ultimately, it’s a compelling, well-acted piece, although there are some structural issues. 

The Length of a Pop Song isn’t very long, actually. It runs about 95 minutes with no intermission, but a lot happens in those 95 minutes. It’s told in a non-linear fashion, with a “present day” story intersecting with flashbacks and some sequences that seem to be set in the mind of the central character, Lex (Rhiannon Skye Creighton). Lex was once an aspiring songwriter with big ideas about how pop music speaks into her own life and the lives of others, but she seems to have given up on writing lately, as well as on life itself.  She has had a hard life, with a devout Catholic mother, Anna (Donna Parrone), who has been somewhat emotionally distant and who Lex perceives as judgmental, and a philandering father who doesn’t seem to care much about his own family. The story begins as Lex comes home after being away for a long time, after a life of drug addiction, self-harm, and being mistreated, abused, and assaulted by various men. When a video of her being assaulted is put up online, she becomes involved in a court case against the perpetrators, but isn’t sure she wants to continue participating. Anna is trying to connect with her daughter, owning up to her mistakes as a mother, while Lex continues to lash out and push her away. All the while, childhood best friend Oliver (Kelvin Urday) is there as something of a sounding board/moral compass/conscience figure, although it’s not always clear when he’s actually there or when he’s only in Lex’s imagination. Also, the music and lyrics keep coming back as a recurring theme, until ultimately Lex has to decide what to do about her own life, as well as her relationships and her music.

For the most part, this is a fascinating play, with well-drawn characters and especially strong performances, led by Creighton in a dynamic, emotionally volatile portrayal of Lex. Through her performance, we get to see the the full range of her character–from the pain, cynicism, and self-hatred to the sense of idealism and hope that once was there and could still be there. Her relationships with Urday as Oliver and especially Parrone as Anna are credible and compelling. Parrone is also strong as Anna, a woman who obviously loves her daughter, and is struggling greatly to understand her and, especially, to help her. Urday is also excellent as the encouraging Oliver, who tries to see the best in Lex even when she can’t see it herself. The acting and pacing are excellent here, as is Creighton’s singing in her performance of the original song “Again” by Gruenloh, Gracie Sartin, and Teddy Luecke. There are also simple but effective production values–a good basic set by Brittanie Gunn, atmospheric lighting by Kevin Bowman, and strong sound design by Gruenloh. 

It’s a promising play, but does have its confusing moments, as the blend of present-day story, flashback, and conscience/imagination can be hard to follow at times, and there are several moments where I wish Anna was given a little more to say in response to some of Lex’s accusations. Still, it’s a thoughtful, highly emotional drama, with a strong cast and simple but effective staging. There is some sensitive subject matter-including drug use, sexual assault, self-harm, and suicide, and there is a general warning posted in the theatre. Ultimately, though, this is a play that doesn’t leave the audience with despair, and although the relationship struggles can be difficult, there is obvious care and love on display.  The Length of A Pop Song is a promising new play, well worth seeing.

Kelvin Urday, Rhiannon Skye Creighton, Donna Parrone
Photo by Taylor Gruenloh
Tesseract Theatre Company

Tesseract Theatre Company is presenting The Length of a Pop Song at the Marcelle Theatre until July 17, 2022

Read Full Post »