Posts Tagged ‘kathryn bentley’

A Brick and a Bible
by Kathryn Bentley & Colin McLaughlin
Original Music by Alicia Revé Like and Anita Jackson
Directed by Rayme Cornell
Bread and Roses Missouri
February 28, 2026

Cast of A Brick and a Bible
Photo by Studio Kay
Bread and Roses Missouri

Bread and Roses Missouri is presenting a fascinating production in various venues around St. Louis, having started at the Missouri History Museum, which is fitting since it centers around an important but not necessarily well-known moment in the life of our city. A Brick and a Bible focuses on a Depression-era workers’ strike that called attention to class struggles, racial divides, and institutionalized racism and sexism. This production sets the tone in a very historically “St. Louis” way, with Jazz and Blues music to underscore the movement led by a group of determined Black women. It’s not a long play, but it’s educational, informative, and strikes me especially as a show than can be toured.

Set in 1932 in the midst of the Great Depression, the story focuses on a group of workers at a nut factory, fighting for better working conditions and equal pay for Black women workers. The Funsten Nut Strike was eventually joined by more workers–including white women–and supported by Black churches as well as the Communist party, who historically supported various workers’ strikes and causes. The leaders, though, were a group of Black working-class women who were determined to make life better for their fellow workers. The central character is Elizabeth (Christina Yancy), a scholarly, church-going young woman who has taken a job at the factory to help support her family. She is contrasted with Delores (Thomasina Clarke), Elizabeth’s co-worker who helps bring the local Communist party into the cause, and who is good friends with Elizabeth despite their differences in faith and philosophy. As the initially reluctant Elizabeth is brought into the workers’ rights movement, she also struggles with the expectations of her academic mentor, Ms. Leonard (Alexandra Jay), who encourages Elizabeth to “find her voice” but also isn’t sure about how the young women chooses to be involved.

The rest of the characters are other leaders and participants in the strike, including Carrie Smith (LaWanda Jackson), Cora Lewis (also Jay), and Communist party representative Bill Setner (Ryan Lawson-Maeske). There’s also a “chorus” of singers (Adrienne Spann, Hassie Davis, Joshua Mayfield) who narrate and comment on the action, as well as playing other characters in the story as needed. The music, by Alicia Revé Like with additions by music director Anita Jackson, is rooted in the jazz and blues styles of 1930s St. Louis, as well as some Gospel influences, reflective of the deep faith and church involvement of many of the characters. The overall atmosphere and setting are well-realized by means of an excellent set by Laura Skroska that features a backdrop of news headlines of the day, along with striking lighting by Theresa Comstock and excellent sound design by Ahsa-Ti Nu. The costumes by Shevaré Perry also add an authentic air to the story, and the music is also memorable, played with skill and emotion by musicians Gregg Haynes and Willem Von Hombracht. 

The players are impressive all around, led by the charismatic and relatable Yancy as Elizabeth, Clarke as the sharp-witted and determined Delores, and Jay as the inspiring and occasionally bewildered Ms. Lewis. The rest of the cast is also excellent, with strong voices from the chorus and the rest of the players occasionally joining in the singing. This isn’t a musical, exactly, but more a play that uses music as something of a backdrop and commentary on the action.

Another striking aspect of this production is its portability. Though it opened at the Missouri History Museum, it played its second weekend at the Metro Theatre Company space in Midtown, which is where I saw it. It will be playing one more weekend at St. Stephen’s & The Vine Episcopal Church in Ferguson. This strikes me as the type of show that could fairly easily be toured to various venues, although I recommend checking it out while you can. A Brick and a Bible is a show that highlights an aspect of St. Louis History that many might not know. It’s a well-paced, intriguing and riveting tale. 

Bread and Roses Missouri will be presenting A Brick and a Bible at St. Stephen’s & The Vine Episcopal Church on March 7-8, 2026

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Steel Magnolias
by Robert Harling
Directed by Kathryn Bentley
Tesseract Theatre Company
July 27, 2025

Victoria Pines, Margery A. Handy, Joana Dominguez, Lynett Vallejo, Lillie Self-Miller
Photo: Tesseract Theatre Company

Tesseract Theatre Company is currently staging a well-known, oft-staged play in way you may not have seen it before. Best known for the 1989 film based on Robert Harling’s play, Steel Magnolias was also filmed again for television in 2012 with an almost all-Black cast. Tesseract’s production is in a similar vein as the more recent movie, with an all POC cast while maintaining the play’s 1980s Louisiana setting. The casting and direction by Kathryn Bentley honors the setting of the play while also granting a fresh perspective on the characters, while also highlighting the universality of the play’s themes of friendship, family, and the happiness and sorrows of life throughout the changing seasons. 

Unlike the films, which added characters and scenes, the cast and setting of Steel Magnolias the play is simple–six characters, one location. The center of the action is the beauty parlor that Truvy (Joana Dominguez) runs out of her home’s converted garage, and as the play opens, she hires on a new employee–the timid Annelle (Lillie Self-Miller). Soon, we meet the regulars of the shop, including the town’s former First Lady, Clairee (Victoria Pines), the snarky Ouiser (Tammy O’Donnell), and mother and daughter M’Lynn (Margery A. Handy) and Shelby (Lynett Vallejo) as the two prepare for Shelby’s wedding. The main focus in this story is on these two, as the protective M’Lynn is concerned for the health of Shelby, who has diabetes and has been advised by her doctor not to have children. When she does become pregnant, this is cause for more concern for M’Lynn. There’s much in the way of “Southern charm” and culture throughout, with a few modifications reflecting the casting that work well and add a new perspective to the story while also maintaining the spirit of the play.

There are triumphs, tragedies, quirky stories, and a good deal of Southern humor, directed with attention to time, place, and character by Kathryn Bentley, and played with credible energy and engaging humor and warmth by the strong cast, although there are a few moments in which the comic timing could be improved, and there was bit of struggling with lines at times. The cast is strong across the board, with Handy and Vallejo especially shining as the protective M’Lynn and an especially upbeat and memorable Shelby. Pines is also excellent as the cosmopolitan Clairee, and O’Donnell has some fun comic moments as the hilariously crass Ouiser. Dominguez as Truvy is also warm and likable, and Self-Miller is especially convincing as Annelle, who undergoes quite a bit of change throughout the story. The ensemble chemistry and friendship bond is strong among the cast, and there’s a good measure of humor and poignancy, including an especially well-handled fourth act, where the drama comes out in force, but the sense of humor and hope are still there to balance it out.

The set by Brittanie Gunn is detailed and well-appointed, with a credible 80s vibe, and the costume and wig design by Shevaré Perry also adds an authentic, stylish flair. There’s also good work from Cheyenne Grooms on lighting and Stan Chisholm on sound. Overall, the look and feel of the Louisiana beauty shop, circa 1989 is well established and maintained, and the characters are given a suitable stage to shine.

Steel Magnolias is a popular show, and many theatre companies have presented it over the years. Tesseract’s latest production keeps the familiar 1980s vibe but adds an additional perspective that brings out a strong sense of the characters from a different angle. It’s well-cast, it’s full of heart and energy, and it’s likely to provoke laughter and tears from the audience. I’ve been impressed by Tesseract’s work lately, and this show is another fine example. 

Tammy O’Donnell, Margery A. Handy
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theatre Company is presenting Steel Magnolias at the Marcelle Theatre until August 10th, 2025

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