Posts Tagged ‘Max & Louie Productions’

Max & Louie’s Thought-Provoking “Constitution” Makes a Memorable Impression

Posted in St Louis Theatre, tagged , , , , , on April 8, 2023| Leave a Comment »

What the Constitution Means to Me
by Heidi Schreck
Directed by Nancy Bell
Max & Louie Productions
April 6, 2023

Michelle Hand, Isaiah Di Lorenzo
Photo by Dunsi Dai
Max & Louie Productions

How well do you know the United States Constitution? This document is the basis for our country’s government, but not everyone knows exactly what’s in it, or how it should be interpreted. At Max & Louie Productions’ latest staging of Heidi Schreck’s Pulitzer-nominated What the Constitution Means to Me, they’re passing out little booklets containing the entire Constitution, so you can read it for yourself. You also get to witness a heavily thought-provoking, highly personal presentation based on the playwright’s own experience, acted out by a some excellent local performers and providing for a challenging, thoroughly fascinating evening of theatre. 

This show was originally performed by Heidi Schreck herself along with the original cast, and it was filmed for Amazon Prime. I’ve seen the Prime version, which is excellent, but it’s a new experience to see Heidi portrayed by a well-known local performer, Michelle Hand, along with Isaiah Di Lorenzo as a Legionnaire and a trio of young students (Riley Carter Adams, Aislyn Morrow, and Maahi Saint) alternating as the Debater, who participates in a one-on-one competition with Hand at the end of the show, debating about whether or not the Constitution should be abolished. The story itself follows Heidi’s experience participating in a series of contests in her high school years in order to earn money for college, with many digressions about her family and her life since high school. The contrasts between her understanding  of the Constitution as a teenager vs. later are highlighted as Heidi tells stories from her own personal experience, as well as those of her mother, grandmother, and great-great grandmother, along with bringing up a series of historical incidents and Supreme Court cases (complete with actual audio recordings). The general theme is of the Constitution as a flawed document that wasn’t written with all Americans in mind, excluding women and people of color specifically. While it was written with the ability to be amended, and there have been many amendments, the idea is raised that it might be a good idea to start over and write a new Constitution.

Also in a departure from the original version, Hand participates in the debate as herself, and not as Heidi, which works well here, as Hand’s rapport with Adams (the Debater I saw) is excellent, and their mutual respect shines through even in the midst of intense debate. I assume this rapport is present with the other Debaters, as well. In the main story, Hand is also excellent as Schreck, not exactly copying her mannerisms but conveying her personability, humor, and emotion with strong stage presence and clarity. Di Lorenzo is also strong as the Legionnaire, who acts as moderator of the teen Heidi’s contest and also has some surprises in store as the story veers more and more from the original narrative. Adams is also impressive as the Debater, giving convincing arguments and demonstrating great enthusiasm for the subject. 

Technically, the show recreates an old American Legion hall with a twist, with a simple and effective unit set by Dunsi Dai that features a lot of wood paneling and scores of serious-looking photos of men, skewed at an angle suggesting the photos may slide off their shelves at any minute. This works as a suitable backdrop for the proceedings. There’s also strong work from lighting designer Zak Matalsky and sound designer Phillip Evans. The direction is thoughtful and well-paced, with many emotional highlights, and underscoring the personal connection that Heidi has formed with her former teen self and with the Constitution and her ideals.

What the Constitution Means to Me is a highly thoughtful, personal, and thought-provoking show, and it raises good points for keeping the Constitution and for abolishing it and starting over. No matter what an individual viewer’s opinion may be on this subject, I think this is a show worth seeing, with an excellent, highly likable cast and strong production values.  It’s sure to raise questions and lead to interesting conversations, as well as making audiences think and examine how this country has treated its citizens over the years, and how we can strive to do better. 

Michelle Hand, Riley Carter Adams
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting What the Constitution Means to Me at the Marcelle Theatre until April 23, 2023

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Max & Louie Presents a Memorable, Thoughtful “Tiny Beautiful” Production

Posted in St Louis Theatre, tagged , , , , , , , , on August 2, 2021| Leave a Comment »

Tiny Beautiful Things
Based on the Book by Cheryl Strayed
Adapted for the Stage by Nia Vardalos
Co-Conceived by Marshall Heyman, Thomas Kail, and Nia Vardalos
Directed by Sydie Grosberg Ronga
Max & Louie Productions
July 30, 2021

Greg Johnston, Michelle Hand, Abraham Shaw, Wendy Renée Greenwood
Photo by Patrick Huber
Max & Louie Productions

Now that the St. Louis theatre schedule is starting to fill up again, I’m thinking about the types of shows that work especially well for “re-introducing” theatre to an audience that has been missing it for so long. There are the “fun” shows that are there primarily to entertain, there are those that celebrate the art of theatre itself, and then there are the thoughtful, thought-provoking shows that ask questions that may or may not be answered. Even though it’s a show that’s framed to be about someone answering questions, Tiny Beautiful Things, currently being presented by Max & Louie Productions, is one of these thought-stirring types of shows, compellingly performed by a first-rate cast.

The play is a dramatic presentation, adapted by Nia Vardalos (of My Big Fat Greek Wedding fame) of a book by writer Cheryl Strayed, which is essentially a compilation of letters and answers from an advice column that Strayed once wrote for an online literary magazine called The Rumpus. In the production, Strayed (played here by Michelle Hand) takes on the mantle of “Dear Sugar” after the job is offered to her by the column’s previous writer (Greg Johnston). As “Sugar”, Hand is the only performer who plays the same role throughout the production. The three other players (Johnston, Wendy Renée Greenwood, and Abraham Shaw) play a variety of characters, from the writers of the various dramatized letters, to readers who are eager to learn Sugar’s identity, to figures in Strayed personal life, and most notably her mother (Greenwood), who has a profound influence in Strayed’s life, career, and advice. It’s a short play, running at roughly 90 minutes with no intermission, but there’s a lot here to think about. The letters run the gamut from the humorous to the profound,  touching on a range of issues from relationships (with parents, significant others, etc.) to personal identity and acceptance, to aspirational goals, and more. 

The show here has a structure if not exactly a lot of “action”. The “plot” is essentially the progression of “Sugar’s” thought process as she explores her own background by way of trying to help others through her answers to their letters, and the letters also deal with some lighter issues as well as some more intense, weighty ones (including addiction, as well as physical, sexual, and emotional abuse), providing the audience the opportunity to think and process how we might respond to them, as well as to Sugar’s answers. What’s especially compelling here in the dramatic presentation is the performance, and the excellent portrayals by all four of the cast members, led by the superb Hand in an engaging performance as Sugar. Johnston, Greenwood, and Shaw are also especially strong in portraying a range of different characters and situations, and the imagined interactions with Sugar are poignantly portrayed. It’s all compellingly staged by director Sydnie Grosberg Ronga in a way that makes the subject matter, and the various characters, especially relatable and stirring.

The production values are excellent, as is usual with this theatre company, with a great set by Dunsi Dai and costumes by Eileen Engel, striking lighting by Patrick Huber, and proficient sound design by Phillip Evans.  Tiny Beautiful Things is a memorable production with top-notch performances that’s sure to make audiences think, and another reminder of what’s so great about being back in the theatre.

Michelle Hand
Photo by Patrick Huber
Max & Louie Productions

Max & Louie Productions is presenting Tiny Beautiful Things at the Grandel Theatre until August 8, 2021




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Max & Louie’s “Songs for Nobodies” is an Ideal Showcase For Its Star

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on January 30, 2020| Leave a Comment »

Songs for Nobodies
by Joanna Murray-Smith
Directed by Pamela Hunt
Max & Louie Productions
January 24, 2020

Debby Lennon
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions has had a lot of success with Debby Lennon front and center, and their latest production is no different. Songs For Nobodies is a one-woman show featuring the stories of five “ordinary” women and their encounters with five legendary performers of the 20th Century, featuring a variety of musical styles from classic pop standards, to country, to jazz, to classical. It seems an ideal vehicle for the talented, vocally versatile Lennon, and she and the show do not disappoint.

This isn’t one story, but five, highlighting the larger-than-life talents of legendary singers Judy Garland, Patsy Cline, Edith Piaf, Billie Holiday, and Maria Callas, as told from the points of view of five different women who had memorable meetings with one of the five. There’s restroom attendant Beatrice Ethel Appleton, who encounters Garland while on the job at a swanky New York hotel and receives some comfort and advice in a difficult time. There’s also Pearl Avalon, whose meeting with Cline (at what would turn out to be the singer’s last performance) inspired her future career as a backup singer for some of country music’s greatest stars. We also meet Edie Delamotte, an English librarian who remembers her father’s fateful meeting with Piaf during World War II, as well as Too Junior Jones, an ambitious New York reporter who gets an interview with Holiday. Finally, Irish nanny Orla McDonagh recounts her run-in with Callas–and Aristotle Onassis–on a luxury yacht. The overall point seems to be highlighting the music of the famous singers, while also showing their impact on “everyday” women in more “mundane” non-celebrity positions, while also in its own way showing the humanity of iconic figures who are often remembered more by their public image. So, while some of these women may be “nobodies” and some are world-renowned, the underlying point is that everyone is somebody.

The one-woman show nature of this piece makes casting a crucial matter, and Max & Louie’s creative team have chosen their “go-to” MVP, Lennon, for this challenging task. The choice is unsurprising considering Lennon’s already proven talent, both in terms of acting and her remarkable voice. She gets a chance to show off all of her considerable skills here, from giving us unique characterizations of all of the “ordinary women” that require her to employ several different accents and play different ages, to getting to perform a “greatest hits” array of songs associated with the five legendary singers–such as “Come Rain or Come Shine” for Garland, “Crazy” for Cline, “Non, Je Regrette Rien” for Piaf, “Strange Fruit” for Holiday, and Puccini’s “Vissi d’arte” for Callas. This is an impressively wide range of styles, and Lennon delivers each song with remarkable versatility.  Overall, each segment has its own humor, drama, and poignancy, although for me the standout was the Piaf segment, both for Lennon’s uncannily accurate singing and for the power of the story itself.

Technically, the show is remarkable in its stylish simplicity. There are no costume or makeup changes, and Lennon–outfitted by costume designer Dorothy Jones in a simple black dress–relies on the strength of her own acting to show the changes in characters, with occasional use of accessories such as scarf and sunglasses for Callas, a glass of whiskey for Holiday, a black shawl for Piaf. Dunsi Dai’s elegant set, Kevin Bowman’s projections, and Stellie Siteman’s props contribute much to the mood, as well. There’s also excellent atmospheric work from lighting designer Tony Anselmo, proficient sound from Phillip Evans, and an excellent musical ensemble led by music director and pianist Nicolas Valdez and featuring Jake Stergos on bass and Keith Bowman on percussion.

Songs for Nobodies is a “showcase” kind of show, for its iconic celebrity subjects, for their “ordinary counterparts” and, especially because of its structure, for the show’s featured star. Here, Debby Lennon gets to remind audiences of her memorable talents, and Max & Louie Productions gets to produce another remarkable performance. If you love these artists and their music, and especially if you love to experience the power of live performance, this is a show to see, and hear.

 

Debby Lennon
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting Songs for Nobodies at the Kranzberg Theatre until February 2, 2020

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A Lyrical, Boldly Theatrical “Indecent” from Max & Louie Productions

Posted in St Louis Theatre, tagged , , , , , on June 26, 2019| Leave a Comment »

Indecent
by Paula Vogel
Directed by Joanne Gordon
Max & Louie Productions
June 21, 2019

Cast of Indecent
Photo: Max & Louie Productions

Indecent is a play about a play. It’s a lot more than that, too, but in the new St. Louis premiere staging by Max & Louie Productions, the theatre arts are front and center. It’s a message play, certainly, with themes about censorship, artistic integrity, freedom of expression, and more. Ultimately, as currently staged at the Grandel Theatre, this new production is a triumph of lyrical staging and theatricality.

Indecent covers several decades in the creation of and controversy surrounding the staging of Polish Jewish playwright Sholem Asch’s play God of Vengeance, which was originally written, in Yiddish, in 1907. Controversial in some circles from the beginning for its portrayal of characters that some Jewish critics considered stereotypical, as well as its treatment of the Torah and lesbian themes including a prominent love scene, the play still became a big hit in Europe before being brought to Broadway, translated into English, in 1923, where it became the centerpiece for a scandal. Shortly after opening, the production was raided by police and the company arrested and subsequently tried for obscenity. While God of Vengeance itself isn’t shown in great detail in Indecent beyond two prominent scenes, the point being made seems to be more about what the play represents and the issues it raised, especially concerning freedom of expression and personal, national, and religious (particularly Jewish) identity, and how different forms of prejudice (antisemitism, xenophobia, homophobia, etc.) can be bound up together. The ominous gradual build-up to the atrocities of World War II and the Holocaust, and their aftermath, is also a prominent theme. In addition to these issues, though, the play is a celebration of form, told in the manner of a traveling Yiddish acting troupe and featuring musicians as part of the production, playing Klezmer-style music among other styles such as jazz when the show’s time frame “arrives” in the 1920s. The players (TJ Lancaster, Paul Cereghino, Zoe Farmingdale, John Flack, Katie Karel, Judi Mann, and Tim Schall) all play various characters in the course of the production, and the musicians (Alyssa Avery, Kris Pineda, and Jack Theiling) are involved in the story as well. This is actually a somewhat challenging play to describe, since it covers so much in terms of scope, theme, structure, and tone. There’s broad humor and poignant drama; lyrical poetry and music and occasional theatrical melodrama. Mostly, though, it’s a highly personal story focusing on the playwright Asch (Cereghino and later, Flack) and the troupe of players led by Asch’s friend, former tailor-turned-Stage Manager Lemml (Lancaster) and the trials, tribulations, and persistent hope of expression and understanding of Asch’s most controversial work. It’s about more than one play, though–it’s about art, expression, and humanity itself.

The casting is especially strong, with a impressive, cohesive ensemble and no weak links. Although everyone plays several roles, the players–with the exception of Lancaster as Lemml–are listed in the program by age group, with Cereghino and Farmingdale as the “ingenues”, Flack and Mann as the “Elders”, and Schall and Karel as the “Middle”. Standout roles and performances include Cereghino as the first idealistic and then increasingly disillusioned and haunted younger Asch; Lancaster as the determined Lemml; Farmingdale as the younger version of Asch’s wife Madje and also as the various actresses who play the young Rifkela in God of Vengeance; Karel as the various performers playing the worldly Manke in the play-within-the-play; and Flack and Mann as the older Asches. Everyone is excellent, though, including the musicians who are almost constantly onstage, joining in with the story.

Technically, this production is nothing short of dazzling. With a masterfully detailed, versatile set by Dunsi Dai, projections by Kevin Bowman, and truly stunning lighting by Patrick Huber that emphasizes shadows and contrasts, the mood, time, and place of the show are well maintained. There are also superb costumes and wigs by Teresa Doggett and excellent sound design by Phillip Evans and music direction by Ron McGowan. The sights, sounds, and effects of this play are remarkable, bringing the audience into the experience of the play in poetic style.

This is a show that got a lot of buzz when it was on Broadway, and with this production, I can see why. Whether you know much or anything about the source material (I didn’t), it doesn’t particularly matter because you will learn a lot simply by watching this play. There’s a lot here that’s still relevant in today’s day and age, as well as an important history lesson. Overall, the effect is bold, theatrical, and fascinating. The play may be called Indecent, but this production is more than simply “decent”. It’s a remarkable theatrical experience.

Paul Cereghino, Zoe Farmingdale
Photo: Max & Louie Productions

Max & Louie Productions is presenting Indecent at the Grandel Theatre until June 30, 2019

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A “Souvenir” to Remember From Max & Louie Productions

Posted in St Louis Theatre, tagged , , , , , on December 21, 2017| Leave a Comment »

Souvenir
by Stephen Temperley
Directed by Sydnie Grosberg Ronga
Max & Louie Productions
December 15, 2017

Paul Cereghino, Debby Lennon
Photo by Patrick Huber
Max & Louie Productions

Florence Foster Jenkins has gotten more notoriety than she could have predicted, even though she probably would have loved it. Even decades after her death in 1944, the socialite and wanna-be classical singer is probably more well-known than ever, thanks to the eponymous acclaimed film starring Meryl Streep as well as the play Souvenir, Stephen Temperley’s charming two-character comedy that’s now onstage at the Marcelle, presented by the always excellent Max & Louie productions. It’s a well-cast production that highlights an important relationship in Jenkins’s life, and provides a showcase for two immensely talented local performers.

The play tells the unlikely but true story of Jenkins (Debby Lennon) through the eyes of her longtime accompanist Cosme McMoon (Paul Cereghino), who is initially shown reminiscing about their relationship 20 years after Jenkins’s death. McMoon then goes on to tell the story of how they met, and how they formed an unlikely team, and after McMoon’s initial shock at the combination of Jenkins’s personal confidence and her lack of discernible singing talent, the working relationship grew into a close friendship.  That’s basically the story, told with much humor but in an affectionate way rather than a ridiculing way. Even though Jenkins really isn’t the great singer she imagines herself to be, she’s got a lot of personal strength, and a truly enviable level of self-confidence. McMoon, over the years, grows to admire her and even feel protective of her, and their unfolding relationship is a joy to witness. Although for the most part, the tone of this piece is comic, there are also some poignant dramatic moments, leading to a truly touching and heartfelt conclusion.

While the script itself is excellent, what makes this production shine most of all is its casting. There are two remarkable performances here. I’ve been told by several trained singers that in order to accurately portray “bad” singing on purpose, it takes a great singer, and Lennon is that and more. The beauty of a piece like this is that it gives Lennon the opportunity to show off her “bad” singing as well as–in a fantasy sequence–her genuinely great singing. Lennon also has such an endearing quality about her as Jenkins that, even though her singing is spectacularly bad, the audience loves her for it. There are so many levels to Lennon’s performance, from humor to an undercurrent of loneliness and desire to be loved. Cereghino is every bit her match as McMoon, as well, getting the chance to show off his excellent piano skills in addition to his acting. His McMoon is charming and supremely likable, as well, and the growing friendship between these two is made all the more believable because of the excellent chemistry between Cereghino and Lennon. The comic timing is first-rate, and the dramatic moments are given just the right weight, as well.

The time, place, and mood of this show is well-maintained in the technical aspects, as well. Dunsi Dai’s gorgeous set, backed by a dazzling video wall/ceiling, provides the right backdrop for the show. There are also wonderful costumes by Teresa Doggett–from Jenkins’s various costumes ranging from classy to outrageous, to McMoon’s stylish suit and tux. There’s also excellent work from lighting designers Patrick Huber and Tony Anselmo, as well as sound designer Casey Hunter. The world of Jenkins and McMoon and the overall milieu of 1930s and 40s New York is communicated with a great deal of style.

This is a remarkable production. The two leads shine, as does the whole show. It looks good and it’s thoroughly fascinating and compelling. A character who could easily be lampooned and ridiculed is given an affectionate tribute here, as is the fond friendship between the “singer” and her accompanist. This is a Souvenir worth celebrating.

Debby Lennon, Paul Cereghino
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting Souvenir at the Marcelle Theatre until December 31, 2017.

 

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Max & Louie Brings Complex, Compelling “Lady Day” to the Stage

Posted in St Louis Theatre, tagged , , , , , , on February 21, 2017| Leave a Comment »

Lady Day at Emerson’s Bar & Grill
by Lanie Robertson
Directed by Leda Hoffmann
Max & Louie Productions
February 17, 2017

Alexis J. Roston Photo by John Lamb Max & Louie Productions

Alexis J. Roston
Photo by John Lamb
Max & Louie Productions

Billie Holiday was an undisputed legend of jazz music. Since she died in 1959, there are many people today who have had no opportunity to see her in concert. Lady Day at Emerson’s Bar & Grill, currently being presented by Max & Louie Productions, gives audiences the closest chance they can get to seeing Holiday perform live. Through a remarkably complex performance from its leading performer, attenders are given a window into Holiday’s life and music, simultaneously showing the greatness and the struggles of her too-short life.

The Billie Holiday we see here, as portrayed by the remarkably talented Alexis J. Roston, is the Lady Day who was nearing the end of her career, as well as of her life. Taking place in March, 1959–four months before she died–the play has the conceit of a concert. Introduced by Holiday’s small band led by pianist Jimmy Powers (Abdul Hamid Royal), Holiday is unpredictable but enthusiastic at first, singing a string of jazz tunes and sharing anecdotes from her life, some humorous and others poignant, sad, and even disturbing. This is a Billie Holiday whose greatness as a singer is still readily evident, although her weariness and decline is also clearly on display. It’s an incredibly strong, richly nuanced performance from Roston, who sounds like Holiday but comes across as a fully realized character rather than a simple impression or tribute. Songs like the poignant “God Bless the Child” and the devastating “Strange Fruit” are not simply sung well by Roston–they are vividly set up in the stories she tells, as she remembers her mother, her first husband who introduced her to heroin, and her experiences performing in the highly segregated and hostile Southern states. Sipping whiskey throughout, Holiday ranges from lucid to near-incoherent, but that voice still rings out when she sings, showing us the talent that made her a legend even when, at this moment in time, the best years of her singing career are behind her.

Although the show is primarily about Holiday, and Roston’s superb performance, she is well supported by Royal as her supportive but occasionally exasperated pianist, Jimmy, and by Kaleb Kirby (drums) and Benjamin Wheeler (Bass), Jimmy’s bandmates. The set, by Dunsi Dai, is a vividly realistic recreation of a 1950’s Philadelphia jazz bar, and Dorothy Jones’s costumes outfit Roston and her band in appropriate period attire. Patrick Huber’s lighting is also especially effective in setting and maintaining the mood and concert atmosphere of the production, with excellent work from sound designer Casey Hunter as well. The music is well-represented by Roston’s excellent voice as well as Royal’s strong music direction and the band’s top-notch playing.

There are many memorable songs here, from “I Wonder Where Love Has Gone” and “When a Woman Loves a Man” to “What a Little Moonlight Can Do” and the emotional “Deep Song” that closes the show.  What we see here in this stunningly realized production is an artist at the end of her life, but with so much of her talent on display even through the more difficult moments. Roston especially is a revelation, and this is a production not to be missed especially for fans of classic jazz music and of Lady Day herself.

Abdul Hamid Royal, Kaleb Kirby, Ben Wheeler, Alexis J. Roston Photo by John Lamb Max & Louie Productions

Abdul Hamid Royal, Kaleb Kirby, Ben Wheeler, Alexis J. Roston
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting Lady Day at Emerson’s Bar & Grill at the Kranzberg Arts Center until March 4, 2017.

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