Posts Tagged ‘new jewish theatre’

“Job” at NJT Looks at a Complex Subject with Nuanced Script, Strong Acting

Posted in St Louis Theatre, tagged , , , , , , on August 15, 2026| Leave a Comment »

Job
by Max Wolf Friedlich
Directed by Annamaria Pileggi
New Jewish Theatre
August 13, 2026

Kristen Lintvedt, John Contini
Photo by Jon Gitchoff
New Jewish Theatre

The internet and cellphone culture are a mixed bag these days. There are good things and bad things about it, and Job by Max Wolf Friedlich looks at both of them through a nuanced lens. Currently onstage at New Jewish Theatre under the direction of Annamaria Pileggi and featuring stellar performances by Kristen Lindtvedt and John Contini, the play focuses on the “job” in terms of employment rather than the book of the Bible, although as the “Rabbi’s Corner” note by Rabbi Andrew H. Terkel in the program notes, there are some thematic similarities in terms of dealing with suffering. The resulting production is a fascinating look at modern internet culture and the effects of media for good and/or ill. 

The format of Job is a little jarring at times, with starts and stops in the plot, as well as a clever use of sound and lighting designed by Kareem Deanes and Michael Sullivan, respectively. At first, we see patient Jane (Lintvedt) brandishing a gun toward therapist Loyd (Contini) upon their first meeting. After a few brief variations of this meeting, the story gets going, as an awkward session begins, revolving around a public panic incident involving Jane that was caught on video and subsequently went viral online. What ensues first appears to be a fairly run-of-the-mill “boomers vs. gen z” debate about the merits of cellphone and internet culture, along with Jane’s protests about how her incident is absolutely not related to her full-time job as a content moderator for an unnamed large internet-based corporation. Periodically, however, those lighting and sound effects keep popping up at various times in the conversation, lending an ominous air to the proceedings. There are also some flashbacks and/or imaginary scenes that are sprinkled into the narrative, lending a bit of doubt as to what events are true and false. 

The acting also contributes to the overall ambiguous tone of the show, as the narrative tends to go back and forth about who we should trust, and the two excellent local performers convincingly portray the nuances with skill. Lintvedt’s Jane is passionate and initially obsessive, thoroughly convinced that she needs her job, and that what she is doing is necessary and helpful. Contini’s aging-hippie-ish Loyd isn’t so sure, all the while being convinced of the importance of his own job as a trusted therapist who has worked with many high-profile clients. Eventually, however, the tone flips, and then flips again, as Jane launches into a seemingly convincing rant about the importance of cellphone culture, but reveals suspicions about Loyd that seem to have been what have been triggering her strange visions. Both actors are marvelous, with Lintvedt’s Jane’s shifts being entirely credible and Contini’s tone being convincingly cryptic to the point where it’s difficult for the audience to decide what is true or not. The acting also helps to illuminate the cleverness of the script in pointing out the good and bad aspects of modern media culture.

The technical aspects of this production are also stellar. In addition to the aforementioned lighting and sound work, there’s also an excellent unit set by C. Otis Sweezy that captures the spirit of the aging-hippie therapists’ office especially well while also serving as an effective backdrop for the special effects. Michele Friedman Siler’s costumes are also effective in reflecting the personalities of the characters. The production values augment the story and add to the overall ambiguous tone of the story. 

Job is a short show, running at about 90 minutes with no intermission, and that running time and format suits the show well, with no breaks in the action or flow of the conversation. Even with it’s fantasy elements and special effects, it often seems like a real therapy session, albeit a chaotic one. It also contains sensitive subject matter including references to sexual and violent situations. There’s a lot to think about and process here, and I’m not sure if the playwright even has a clear agenda. What he does have, though, is a cleverly constructed script and a showcase for two excellent actors. It’s a must-see from New Jewish Theatre. 

 

Kristen Lintvedt, John Contini
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Job at the J’s Wool Studio Theatre until August 23, 2026

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“God of Carnage” at NJT is a Well-Choreographed, Darkly Comic Showcase for a Powerful Cast

Posted in St Louis Theatre, tagged , , , , , , on June 12, 2026| Leave a Comment »

God of Carnage
by Yasmina Reza
Translated by Christopher Hampton
Directed by Gad Guterman
New Jewish Theatre
June 11, 2026

Joel Moses, Nick Freed, Bridgette Bassa, Christina Rios Photo by Jon Gitchoff New Jewish Theatre

New Jewish Theatre’s latest production is an exercise in characterization, dark comedy, and a fascinating examination of human nature and social mores. Yasmina Reza’s God of Carnage, translated by Christopher Hampton and under the direction of Gad Guterman, is also an intricately paced, well-choreographed showcase in ensemble chemistry in this precisely staged production at NJT. It’s a relatively short play, running at about 90 minutes with no intermission, but a lot of action is packed into those 90 minutes, along with a lot of issues to ponder.

This is a meticulously crafted production, with the characters and situation being reflected clearly through means of the technical elements as well as the acting. The upscale Brooklyn apartment set by Rob Lippert, surmounted by an imposing abstract painting, gives a good idea of the world these characters inhabit. It’s the home of affluent couple Michael (Joel Moses) and Veronica (Christina Rios), whose school-age son has been injured in an altercation with a classmate, whose parents Alan (Nick Freed) and Annette (Bridgette Bassa) have come over to try to settle their dispute and craft a statement. It all starts with a veneer of politeness that gradually but surely disintegrates as the evening unfolds, revealing hidden aspects of the characters’ personalities, secret motives, attitudes, and biases as alcohol is brought out, contributing to the loosening of lips and revealing of truths. There’s also a somewhat graphic scene involving vomit, and usage of some offensive language that may bother viewers sensitive to such content. 

It’s a well-crafted script, and the pacing is fantastic, with sharp comic timing and fasti-moving action. The acting is top-notch, with all four players turning in first-rate performances, with some–like Rios and Bassa, playing marvelously unusual roles for them, and Moses and Freed matching their energy note-for-note. These are well-defined characters but it also takes a bit to reveal who they really are underneath their carefully constructed veneers, and these revelations add to the comedy as well as the more disturbing aspects of the plot. It’s a statement about modern affluent society and social constructs of society as much as it is about raw human nature, and these players go all out to portray these characters in all their complex, and occasionally violent, elements. It’s a riveting show from start to finish.

The physical production also contributes much to the story, In addition to Lippert’s marvelous set, there are also perfectly crafted costumes by Michele Friedman Siler that do much to reflect who these characters are. There’s also excellent lighting by Jayson Lawshee-Gress and sound by Kareem Deanes, all working together to add to the tension and mood of the play. 

God of Carnage is a lot of play in a short runtime. It’s a sharp examination of a segment of modern society that plays out in a darkly comic tone that works especially well for the story it’s aiming to tell. These characters are complex and not always likable, but thanks to the excellent performances of the actors, they are compelling from start to finish, and the plot descent to chaos is highly believable and fascinating. It’s another excellent theatrical effort  from New Jewish Theatre. 

Bridgette Bassa, Christina Rios, Nick Freed
Photo by Jon Gitchoff
New Newish Theatre

New Jewish Theatre is presenting God of Carnage at the J’s Wool Studio Theatre until June 28th, 2026

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NJT Explores a Family’s Struggle in Poignant, Powerful “Prayer”

Posted in St Louis Theatre, tagged , , , , , on April 23, 2026| Leave a Comment »

Prayer for the French Republic
by Joshua Harmon
Directed by Rebekah Scallet
New Jewish Theatre
April 18, 2026

Dave Cooperstein, Bryce A. Miller, Jenni Ryan, Hailey Medrano
Photo by Jon Gitchoff
New Jewish Theatre

Prayer for the French Republic is a long show–running just over three hours with two intermissions. The notable thing about New Jewish Theatre’s current production, though, is that it doesn’t seem that long. The engaging story, well-drawn characters and superb performances make for a riveting production that never drags for one second. Under the direction of Rebecca Scallet and featuring an excellent cast of local performers, it’s a fascinating examination of cultural, political and generational issues that are as relevant as ever today. 

The play follows several generations and branches of one French Jewish family, over two time periods–1944-46 and 2016-2017. The story starts in the more modern time period, narrated by Patrick Salomon (John Wilson), one of two adult children of Pierre (Bob Harvey), who still runs the piano store that has been in family for generations. The other is Marcelle (Jenni Ryan), who is married to Charles Benhamou (Dave Cooperstein), and has two children–the devout Daniel (Bryce A. Miller), and the outspoken, confrontational Elodie (Hailey Medrano). As the family is hosting a distant American cousin, Molly (Lilah Kreis), Daniel comes home from work with a black eye and other injuries, causing the family to examine their own beliefs and attitudes about what it means for a a Jewish family to live in France with anti-Semitism and far-right political movements on the rise. 

Meanwhile, the parallel story follows Patrick and Marcelle’s ancestors, Irma (Kathleen Sitzer) and Adolphe (Bill Stine) as they live through World War II in Paris, worrying about their children who have met different fates as a result of Nazi occupation. The main focus is on their relationship with son Lucien (Adam Flores), who has returned after the war with his son, the teenaged Pierre (Ben Hammock) without Lucien’s wife and daughters. Lucien is evasive about what has happened, but he’s also determined to carry on the family business and encourages Pierre to do the same, while Irma presses him to open up about what has happened to his family.

The script and story are especially well structured, with the two family stories blending together with a believable sense of drama balanced by needed moments of humor, and with credible situations and memorable characters. It’s a story that resonates today as well as being a reminder of the history of the struggles and mistreatment of Jewish people throughout the centuries, and the very real sense of fear and yearning for safety that results from the repetition of that pattern. There are difficult issues raised here, made highly personal in the story, and I’m sure the arguments raised will provoke many thoughts and conversations  among the audience. There are no neat answers, but the situations are raw and real, with thoughtful pacing and direction, and a fantastic cast bringing out all the authenticity and emotion that script and subject matter require. 

The family dynamics are especially well portrayed here, with the excellent Ryan at the center as the caring and conflicted Marcelle, whose love and concern for her family is front and center here. She’s well-matched by a sensitive turn from Cooperstein as the increasingly determined Charles, and also by Wilson as the personable but somewhat cynical Patrick. Miller is also especially likable as the earnest Daniel, who makes a believable connection with Kreis’s kind and idealistic Molly. Medrano is also a standout as the outspoken Elodie, who gets several scene-stealing and thought-provoking moments throughout. Harvey serves as a wise, somewhat grounding presence as the elder Pierre, as well, contrasting well with his younger counterpart, Hammock in a sensitive turn as teen Pierre. Flores is a picture of determination as Lucien, and Stine and Sitzer make a credible, caring couple as Irma and Adolphe. It’s a well-balanced cast, full of energy and palpable emotion in keeping with the poignant tone of the story.

As is usual for NJT, the production values are superb, with David Blake’s set working well at showcasing the same Paris apartment in both time periods, and the use of the piano as a focal point is especially effective. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the cast according to two distinct time periods. Mary Robinson’s sound design and original music add much to the atmosphere, and there are also some memorable singing moments from the cast at various moments. The lighting by Heather Reynolds sets an appropriate evocative tone throughout the story, as well. 

This is a powerful story, with a profound emotional impact. It made me think about other stories I’ve seen or read with similar themes, such as The Diary of Anne Frank, that is referenced in the show and has been performed at NJT in the past. It also calls to mind current debates about anti-Semitism in modern times, the state of Israel and the actions of its government, and the rise of various political movements around the world. There’s much to think about here, and the playwright has not given easy answers, but has portrayed a thoroughly believable family dynamic and memorable, relatable characters. It’s a remarkable production, and probably the quickest three-and-a-half hour play I’ve seen.

Bill Stine, Kathleen Sitzer
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Prayer for the French Republic at the J’s Wool Studio Theatre until May 3, 2026

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Audience Howls With Laughter at NJT’s Cleverly Staged “Baskerville”

Posted in St Louis Theatre, tagged , , , , , , , , on November 28, 2025| Leave a Comment »

Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery
by Ken Ludwig
Directed by Nisi Sturgis
The New Jewish Theatre
November 20, 2025

Nick Freed, Bryce A. Miller, John Wilson, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

It may be based on an iconic mystery series and its characters, but there’s no mystery about the appeal of Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery, as staged at The New Jewish Theatre under the direction of Nisi Sturgis. With clever staging, a sharp script, brisk pacing, and an excellent, enthusiastic cast, this tale of intrigue and mystery on the moors of Victorian England has its audience howling with laughter. The appeal is enhanced by great production values, and some fun audience participation gags. 

The story is framed in a similar way to the popular comedic staging of Patrick Barlow’s adaptation of  John Buchan’s The 39 Steps, but based on the even more well-known stories of celebrated detective character Sherlock Holmes (Nick Freed) and his intrepid assistant, Dr. Watson (Bryce A. Miller).  This one is based on the classic story The Hound of the Baskervilles, in which the two are enlisted to help on case involving a murder on the moors bordering a country estate, as the proprietor has been killed in a manner that mirrors an old legend in the Baskerville family, involving a giant, ferocious dog. Watson narrates the story, and takes the principal role, although Holmes still figures prominently, and three performers billed as Actor One (Sean C. Seifert), Actor Two (John Wilson), and Actress One (Alicia Revé Like) each play a variety of roles as the story takes the crime-solving duo from the streets of London to the Devonshire countryside on a caper that involves old legends, romance, sinister plots, murder, and all kinds of intrigue.

Like The 39 Steps, this story has been framed as a comedy, with much of the humor coming from the multi-casting elements and quick pacing, along with a clever script that covers all the familiar beats of a Holmes story but streamlines it to emphasize comic elements and provide many elements to showcase the versatility of the performers.  It’s a fun show, and I’ve seen an excellent production in St. Louis before, a few years ago. At NJT, what stands out this time is the audience participation element, as well as several self-referential and “breaking the Fourth Wall” moments that add much hilarity to the proceedings. The cast members are kept on their toes by the pacing, and they handle the workout with much energy and quick thinking, resulting in a  hilarious evening of suspense and riotous laughter, with a haunting gothic-styled backdrop of dramatic music and excellent production values. 

The creepy, haunting, suspenseful tone of the proceedings are greatly enhanced by means of a marvelously versatile and deceptively simple set by Reiko Huffman that consists of quick-change set pieces and various movable elements on wheels, all painted and styled in suitable Victorian fashion. And speaking of fashion, Michele Friedman Siler’s costumes do a great job of outfitting the characters, working well with fast character changes, and maintaining the 19th Century mood and style. There’s also strong work from lighting designer Katherine Stepanek, keeping the tone dark and haunting while making everything clearly visible to the audience and in keeping with the heightened comic tone.  There’s also a memorable soundtrack and music designed and composed by Victoria Deiorio, recreated with flair for this production by Ethan Foss.

The cast that has been assembled here is nothing short of fantastic, led by Miller in a charming turn as the determined and often bewildered Watson, who is essentially the heart of this story. Freed is also effective and thoroughly credible as the mysterious but almost infuriatingly competent Holmes, and this duo’s interactions form much the humor here, although the three support players carry much of that weight as well. Miller also has easy rapport with Wilson’s most prominent character, the amiable Texan heir to the estate, Sir Henry Baskerville, who also has excellent moments with Like as the conflicted Beryl, with whom Sir Henry becomes smitten. Wilson also excels in his other roles, such as the grumpy Detective Lestrade, and Siefert and Like each play a variety of characters with enthusiasm and distinction, with Siefert as the mysterious Jack Stapleton and supportive Dr. Mortimer, and Like memorable as the sympathetic Beryl and persistent young Cartwright, who helps Holmes on the case in London. There’s so much energy in this show, and the rapport the performers have with one another and with the audience contributes to the overall enjoyment here, with a few wardrobe mishaps being covered well and adding to the humor to the point in which it’s not entirely clear if they really were mishaps or if they were planned. The building suspense and overall gothic tone is well-maintained by the cast as well, providing much in entertainment value.

“Entertaining” is a great word for the overall experience here. That, and “fun”, for the audience and apparently for the cast as well. I also appreciate the staging with the audience divided and the performance area in the middle, which is a format this company has used before to excellent effect. For Sherlock Holmes fans, I think this show would be especially appealing, although there’s enough broad appeal for anyone. It’s a good way for NJT to end their season with a flourish, and a roar of laughter from their audience. 

Sean C. Seifert, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery at the J’s Wool Studio Theatre until December 7, 2025

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NJT’s Heartfelt, Personal “Heidi Chronicles” is More Than a History Lesson

Posted in St Louis Theatre, tagged , , , , , on June 10, 2025| Leave a Comment »

The Heidi Chronicles
by Wendy Wasserstein
Directed by Ellie Schwetye
New Jewish Theatre
May 29, 2025

Joel Moses, Emily Baker, Will Bonfiglio, Ashwini Arora
Photo by Jon Gitchoff
New Jewish Theatre

I’ve been wanting to see Wendy Wasserstein’s The Heidi Chronicles since it won the Tony Award for Best Play and the Pulitzer Prize for Drama in 1989. Now, New Jewish Theatre has given me that opportunity with their excellent, impeccably cast, thoughtfully directed production now onstage at the J’s Wool Studio Theatre. A look at one woman’s experiences through academia and feminism from the 1960s through the 1980s, the play also serves as a compelling look at the experiences of a generation, as well as an education for those of us from succeeding generations. It’s more than a history lesson, though. It’s an intelligent, thought-provoking look at the changing times and a challenge for today’s world and future generations. 

The story follows art history professor and author Heidi Holland (Emily Baker), who we first meet as she’s teaching a class, with the audience as the students. Soon, however, the story flashes back to 1965, where young Heidi and her friend Susan (Kelly Howe) are at high school dance where Susan is eying an appealing unseen guy and trying to get the reluctant Heidi to find a dance partner. Heidi soon meets Peter (Will Bonfiglio), with whom she strikes up an instant rapport and with whom she develops a close bond. A few years later, Heidi is at a fundraiser for presidential candidate Eugene McCarthy when she meets charismatic journalist Scoop (Joel Moses), with whom she develops a rocky romantic relationship that eventually becomes a friendship when Heidi realizes she can’t deal with Scoop’s womanizing ways. These four characters interact through the decades, as Susan and Heidi become involved in various feminist causes, Peter comes out as gay and becomes a highly respected pediatrician, and Scoop starts an influential magazine aimed largely at the “Baby Boomer” generation of which all four characters are members. Over the years, their relationships evolve, the world changes and Heidi develops into the influential professor she eventually becomes, all the while searching for happiness and fulfillment in a world that sends conflicting messages to women about careers, motherhood, and “having it all”. Various other characters come into their lives, played by an excellent ensemble of performers (Courtney Bailey, Paola Angeli, Ashwini Arora, and Josua Mayfield) as Heidi and friends meet new people, interact with the media, and deal with the struggles of the 1960s, 70s, and 80s. 

The cast is marvelous, led by the impressive Baker as Heidi, a thoughtful academic who is looking for her place in a changing world while also trying to make it better for the women around her. Baker’s evolution from young, shy, and somewhat naive to older and reflective professor is highly credible, as are her bonds with her equally excellent costars. Bonfiglio is excellent as usual as the thoughtful, witty Peter, and Moses is a strong contrast as the charismatic, self-centered Scoop. Howe is also a treat as the ever-changing Susan, who eventually becomes about as 1980s “upwardly mobile career woman” as you can get without being a stereotype. These four form a strong core, while Bailey, Angeli, Arora, and Mayfield provide ideal support in various memorable roles. 

The whole vibe of this show is well realized by means of director Ellie Schwetye’s thoughtful staging and the overall “documentary” style theme, with an excellent movable set by Patrick Huber and vivid projections by Kareem Deanes. There’s also memorable period music that goes along with the projections, featuring recognizable hits of the times. Huber’s lighting and Schewtye’s sound design also help set and maintain the theme and tone, as do Michele Friedman Siler’s strikingly detailed costumes. If you lived through any of these decades (and I lived through two of them), you should recognize the look and feel of the eras. 

The Heidi Chronicles may seem a bit dated as a script to today’s audiences, but this production makes it as timely, immediate, and personal as I can imagine. Even if you’re not a Boomer you should find something informative and relatable here. I’m Gen X and I remember these times from a different perspective, although this show does a great job of presenting the “Boomer’s eye view” of these decades, and of the many ways American culture has evolved over the years–as well as ways it still needs to grow. This is an excellent, well-researched and performed production from New Jewish Theatre. 

Courtney Bailey, Paola Angeli, Kelly Howe, Emily Baker, Ashwini Arora
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting The Heidi Chronicles at the J’s Wool Studio Theatre until June 15, 2025

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Thoughtful “Trayf” Looks at Levels of Devotion, Friendship, and Belonging at NJT

Posted in St Louis Theatre, tagged , , , , , on September 22, 2024| Leave a Comment »

Trayf
by Lindsay Joelle
Directed by Aaron Sparks
New Jewish Theatre
September 20, 2024

Jacob Schmidt, Bryce A. Miller
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a look at loyalty, devotion, and friendship, as well as the conflicts between devout religious faith and more worldly pursuits. While Trayf is set in a specific time, place, and in a particular sect of Chasidic Judaism, there are several universal themes here that are relatable regardless of your particular cultural or religious background. The thoughtful, thought-provoking script is best at highlighting a particular friendship among the two main characters, and this production from NJT features some strong performances as well as excellent production values to bring the audience into the world of these intriguing characters. 

The story is set in Brooklyn and Manhattan in 1991. Zalmy (Jacob Schmidt) and Schmuel (Bryce A. Miller)–or “Schmuely” to his friends–are two young best friends who grew up together as part of the Chabad-Lubavitch Chasidic Jewish community in Crown Heights, Brooklyn. As the story begins, they sit in their rented “Mitzvah Tank” preparing to go out in the community as “Lamplighters” doing good deeds with the hope of awakening the “Jewish souls” of Jewish people in the outside world. They geek out over tapes of their leader, Rebbe Menachem Mendel Schneerson, and share their enthusiasm for their cause, although it becomes clear early on that Zalmy has more interest in the outside world, expressing curiosity about celebrities, “secular music”, and more. Soon, the friends meet Jonathan (Spencer Sickmann), a disenchanted employee at a music store who was raised Catholic, but has discovered that his recently deceased father had Jewish ancestry. Zalmy is fascinated with Jonathan’s experience in the wider world, and while Jonathan gets more absorbed in the world of Chasidic Judaism, Zalmy is eager for mixtapes, Broadway theatre tickets, stories of Jonathan’s amorous exploits, and more. Meanwhile, Schmuel becomes bothered by his friend’s increasing interest in spending time with their new “student”. Jonathan’s newfound interest in Judaism also upsets his girlfriend, Leah (Annie Zigman), who is Jewish herself, but not Chasidic. As the relationship between the Zalmy and Schmuel and Jonathan develops, tensions rise, and the foundations of friendship and deeply held beliefs are tested.

This is a story of challenged loyalties, reasons for devotion, and the question of balance between devout religious faith and a believer’s relationship with the outside world. This is a theme that can be relatable not only for Jewish people, but also for adherents of many religions and religious communities. It’s also a tale of a close lifelong friendship, and the challenges the friends face as they grow up and react to their environment differently. This is also a relatable experience for many, regardless of religious faith. It’s also a vivid depiction of a particular time and place in American history, and the early 90’s vibe is well maintained by means of Lily Tomasic’s eye-catching set, Kareem Deanes’s ear-catching sound design, and Michel Friedman Siler’s detailed costumes. Michael Sullivan’s lighting also adds much in the way of atmosphere and tone to the unfolding story.

The script is fascinating and intriguing, and the focus on Zalmy and Schmuel is its strongest point. The actors who play these roles portray a palpable sense of connection and bond, with Schmidt’s eager, curious Zalmy and Miller’s enthusiastic but more cautious Schmuel both turning in excellent portrayals. Sickmann is also strong as Jonathan, although it doesn’t seem like his role is given an adequate resolution. Zigman is also memorable in her one scene as the conflicted Leah. It’s a strong cast all around, and the characters–especially the main two–drive the plot, so the casting is essential. 

Trayf offers a lot to think about, as well as a window into life in a religious community that isn’t especially well-known in 2024. It’s an insightful look at devotion in various forms–to religious faith, to friends and family, to community, and to one’s personal ideals and goals. What stands out the most, though, is the central relationship, with richly drawn characters who are relatable and believable, even if audience members don’t share their particular beliefs or life experiences. This is a fascinating play, and a thoughtfully staged, well-paced production from New Jewish Theatre.

Jacob Schmidt, Spencer Sickmann
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Trayf at the J’s Wool Studio Theatre until September 29, 2024

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Fascinating “Red” is a Dynamic Work of Art at New Jewish Theatre

Posted in St Louis Theatre, tagged , , , , , , on July 31, 2024| Leave a Comment »

Red
by John Logan
Directed by Alan Knoll
New Jewish Theatre
July 25, 2024

Dustin Lane Petrillo, Christopher Harris
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a fascinating lesson in art, history, and life. John Logan’s Red looks at abstract artist Mark Rothko in a way that illuminates not only his work, but his reasons behind it, his life philosophies, and the changing trends in art in the middle of the 20th Century. It’s a dynamic, literate, thoughtful piece that serves as an excellent showcase for two talented actors and gives the audience a lot to think about and learn.

The story takes place in Rothko’s New York studio in the years 1958 and 1959, as the artist (Christopher Harris) works on a now well-known series of paintings known as the Seagram murals, which were originally commissioned to hang on the walls in the Four Seasons Restaurant. It’s a fictionalized account, featuring a young assistant named Ken (Dustin Lane Petrillo) who starts his job at the beginning of the play and serves as a sounding board and occasional foil for Rothko as he undertakes this ambitious job that doesn’t seem to make a lot of sense, as a swanky Manhattan eatery doesn’t seem like an ideal place for the silence and contemplation that Rothko envisions as appropriate for his work. Through the course of the 90 minute play, we get to see Rothko at work, as well as seeing and hearing his thoughts about art and life, as well as his impassioned commitment to his work and ideals. Through the voice of the younger aspiring artist Ken, Rothko is also challenged about his philosophy toward art and his response to newer trends in the art world such as Pop Art represented by Andy Warhol, Roy Lichtenstein, and others. Ideas such as the commercialization of art, the reflection of the artists’ life and suffering on their work, and more are brought up in while the audience gets to see–to the degree that one play is able–the sheer amount of energy and effort that goes into painting such an ambitious series of works.

It’s somewhat difficult to describe this play without making it seem overly cerebral and talky, but it does not come across that way on stage. What we see onstage is the personality of an artist and his relationship with his art, as well as a tangible sense of dynamic energy that goes into every moment. The pacing by director Alan Knoll and the intensely dedicated performances of the two actors make this show a must-see in itself, with Harris bringing a confrontational, passionate interpretation of Rothko and Petrillo also convincing as the idealistic young assistant. These two work especially well together, with their contrasting characters and complementary energy. Watching them dive into the job, sparring with words and priming canvases with gusto, is alternately fascinating, challenging, and thrilling. There’s also an excellent use of music that works as a background and mood-setter for their work. 

The set by Margery and Peter Spack is vividly detailed, recreating the atmosphere of the artist’s studio in a gritty, meticulous way. There’s also top-notch lighting by Jayson M. Lawshee that plays into the story well, and excellent sound design by Justin Smith. Michele Friedman Siler’s costumes are also memorable, suiting the characters well and reflecting the styles of the late 1950s with credible authenticity. 

Red is a remarkable piece of theatre. It’s a work of art about works of art, and the artist behind them, and sheds light on the work and thought that goes into abstract art, even if it may look “simple” on the surface. Rothko is a complex, important figure in the art world, and this play works as a look at the artist himself as well as the changing ideals in the art world and the contrast between idealism and commercialism. It’s a fascinating show, and this production at NJT is a first-rate, dynamic experience. 

Christopher Harris, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Red at the J’s Wool Studio Theatre until August 11, 2024

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NJT’s “We All Fall Down” is a Vividly Chaotic Family Portrait

Posted in St Louis Theatre, tagged , , , , , , on June 4, 2024| Leave a Comment »

We All Fall Down
by Lila Rose Kaplan
Directed by Rebekah Scallet
New Jewish Theatre
May 30, 2024

Alan Knoll, Jenni Ryan, Bridgette Bassa
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a vividly realistic, alternately comic and poignant picture of a family in the midst of change, conflict, and chaos. With strong characterizations and believable relationships, this is a story that should be relatable to many, regardless of cultural or religious background. At NJT, under the direction of artistic director Rebekah Scallet, the play is brought to life with energy and great detail by an excellent cast and creative team.

Nothing runs smoothly in this story, as the Stein family prepares for a Passover Seder, led by matriarch Linda (Mindy Shaw), who insists on the celebration to the confusion of her family, because she had previously eschewed the religious aspects of Judaism, along with her sister-in-law, the politically active Nan (Jenni Ryan). Linda’s husband, recently retired college professor Saul (Alan Knoll) had fond memories of celebrating the holiday as a child with his grandparents, but this will be his first Seder as an adult. His and Linda’s daughters, California-based educator Sammi (Bridgette Bassa), and aspiring Yoga instructor Ariel (Hailey Medrano), are both confused by Linda’s sudden enthusiasm for Passover, and Nan is downright hostile. Also along for the evening are Linda’s graduate research assistant Ester (Taijha Silas), and former neighbor Bev (Bethany Barr), both of whom seem more positive about the preparations for the Seder than the rest of the family. 

And the Seder isn’t the only source of conflict, either. There’s a lot going on here, as Linda deals with her own lack of interest in technology as Ester tries to help her promote her new book with an exciting potential talk-show appearance, Nan and Bev deal with personality conflicts, and both daughters deal with their parents’ disapproval of various aspects of their lives and apparent refusal to see them as full-grown adults. Meanwhile, there’s another serious issue involving Saul that causes concern for his family, and informs Linda’s insistence on the Seder in the first place. 

This is a fast-moving, cleverly structured play that features a lot of humor and comes across as a comedy for the most part, although the underlying sense of drama is palpable and informs the relationships and character motivations. There’s a lot to relate to for audiences, whether viewers are from a Jewish background or not, and serious issues like mental health, aging, and political and religious differences are handled with surprising clarity given the fast pace of the events. The characters are well-portrayed by a strong cast, led by Shaw as the insistent, occasionally misguided but always caring Linda, and Knoll in a poignant performance as the likable, increasingly forgetful Saul. There’s also a believable sibling relationship between Bassa as the optimistic but often exasperated Sammi and Medrano as the somewhat secretive, overprotected Ariel. Ryan as Nan, Barr as Bev, and Silas as Ester also lend strong support, with Silas having a memorable singing moment during the Seder. While some characters are more likable than others, I also think some may be more and less relatable depending on individual viewers. It’s a cohesive cast that carries the story and message with believable humor, drama, and intensity as needed.

The set, by Andrea Ball, is remarkably detailed, presenting the cross-section of a house including stairs, and upstairs room, and a bathroom. The costumes by Michele Friedman Siler and Dennis Milam Bensie suit the characters well. There’s also excellent atmospheric lighting by Michael Sullivan and sound by Ellie Schwetye, helping to bring the world and moods of this family effectively to life. 

We All Fall Down is an intriguing show about a memorable family with situations that are at once particular and universal. With a fair amount of humor and drama, it leaves a lot for audiences to think about. It’s emphasis on memory, upholding family traditions while also questioning them, and the importance of maintaining relationships through change are all themes to which many should be able to relate. With its strong sense of character and setting, along with an excellent cast, it’s a thoughtfully staged theatrical experience.

Taijha Silas, Bridgette Bassa, Alan Knoll, Mindy Shaw
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting We All Fall Down at the J’s Wool Studio Theatre until June 16, 2024

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NJT’s “Woods” Is an Enchanting, Thought-Provoking, Fast-Paced Tale

Posted in St Louis Theatre, tagged , , , , , , , on December 5, 2023| Leave a Comment »

Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Robert Quinlan
Choreographed by Ellen Isom
New Jewish Theatre
November 30, 2023

Cast of Into the Woods
Photo by Jon Gitchoff
New Jewish Theatre

Into the Woods has become something of a modern classic of musical theatre. It’s become especially popular with regional and school theatre groups, and I can see why, since the subjects it deals with are relatable to most, considering the foundational fairy tales on which the story is based. Also, from what I’ve seen, it’s especially adaptable in terms of style and theme, and many directors over the years have staged their own unique concepts without actually changing the script. At New Jewish Theatre, director Robert Quinlan has staged a quickly paced, smaller-cast version in the round, with an excellent, versatile cast and an especially approachable tone.

The story is well-known, made up of a collection of fairy tales mashed together, with an original story to tie them together–of a Baker and his Wife hoping to break a curse so they can have a child. In carrying out the directions of the Witch who lives next door–who has her own reasons for wanting to break the spell–the Baker and his Wife encounter several familiar characters–including Cinderella, Rapunzel, and their respective Princes, along with Little Red Riding Hood, the beanstalk-climbing Jack, and the Big Bad Wolf, among others. The story gets into motion quickly, and never really stops moving, as the characters are determined to get their wishes in the first act, without much thought of how their actions affect others. The second act then deals with the consequences of those actions, with an overriding theme of “be careful what you wish for”, as well as an emphasis on community and how selfish goals can have unforeseen repercussions.

The look and tone of this production are both simple and elaborate at the same time, with a versatile, shifting set by C. Otis Sweezey, colorful costumes by Michele Friedman Siler, and atmospheric lighting by Jayson M. Lawshee helping to set the mood, which emphasizes earth tones and natural elements, with some movable trees and other set pieces, along with a simple but clever puppet of Jack’s cow, Milky-White, operated by Matt Billings, who also plays Cinderella’s Prince. There’s also a 3-piece musical ensemble led by music director Larry D. Pry, who also serves as the Narrator of the story. All of these elements along with the brisk pacing help to maintain the whimsical, fairy-tale-like tone as the story unfolds.

The cast is excellent, as well, led by the personable Molly Wennstrom and Kevin O’Brien as the Baker’s Wife and the Baker, and by the strong-voiced Sarah Gene Dowling as the Witch. There’s also a memorable performance from Kristen Joy Lintvedt as the determined Cinderella, as well as Aliyah Jacobs as an energetic Little Red, and Matthew Cox as both Jack and the royal Steward. Most of the cast members play multiple roles, and all are strong, including Billings as Cinderella’s Prince and Milky-White, Kevin Corpuz as Rapunzel’s Prince and Cinderella’s stepsister Lucinda, Sarah Wilkinson as Rapunzel and Florinda, and Phil Leveling in a fun turn as the Wolf, the Mysterious Man, and Cinderella’s Stepmother. It’s a strong ensemble, with a great deal of energy and chemistry, as well as excellent vocals.

Overall, this journey Into the Woods is well worth the trip. With strong direction and pacing, as well as a consistent sense of theme, this show tells its tale with style and heart. And Stephen Sondheim’s celebrated score is ideally represented, as well. It’s an excellent closing show for the New Jewish Theatre’s 2023 season.

Molly Wennstrom, Kevin O’Brien
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Into the Woods at the J’s Wool Studio Theatre until December 17

This review was originally published at kdhx.org

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NJT’s “Immigrant” is Emotional, Engaging, Impressively Cast

Posted in St Louis Theatre, tagged , , , , , on October 18, 2023| Leave a Comment »

The Immigrant
by Mark Harelik
Conceived by Mark Harelik and Randal Myler
Directed by Rebekah Scallet
New Jewish Theatre
October 12, 2023

Mindy Shaw, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The latest production from New Jewish Theatre is one they’ve done before, twice. I hadn’t seen either of their previous productions of The Immigrant, but seeing the third version makes a strong enough impression that it’s easy to see why this would be revived more than once. It’s a highly personal show, with memorable characters and an especially strong cast.

Written by playwright and actor Mark Harelik and based on the true story of his Russian Jewish immigrant grandfather, Haskell Harelik (Dustin Lane Petrillo), the story is compelling and, for the most part, well-constructed. It follows Haskell from shortly after arriving in the small town of Hamilton, TX, where he barely makes a living pushing a cart around in the summer heat and selling bananas for a penny each. His work leads him to the doorstep of local couple Milton (David Wassilak) and Ima Perry (Mindy Shaw), who are suspicious of the young man at first, but soon befriend him, letting him rent a room in their house, as Haskell continues to work hard, getting business assistance and advice from banker Milton, and writing letters home to his wife, Leah (Bryn McLaughlin), who eventually joins him in Texas, where she experiences the culture shock more acutely than her husband. Over the years, as Haskell’s business grows, the two couples form a close friendship despite their cultural and religious differences, although there are certainly some obstacles that come up in the relationship between Haskell and Milton, especially later in the play as World War II happens. It’s a compelling portrait of determination, friendship, family, and persistence through hardship, although it does seem to peter out somewhat at the end, leaving a few loose ends and stopping the dramatic action by changing the structure of the play with a late-arriving narrator. 

The cast is small, but stellar, making the most of the drama and making the relationships especially believable. As Haskell, Petrillo is engaging and determined, doing an excellent job of portraying his growth from struggling new arrival to established businessman and family man. The developing friendship between Haskell and the Perrys is also made especially poignant through the impressive performances of Shaw and Wassilak. McLaughlin is also strong as Leah, who has excellent chemistry with Petrillo and has some particularly memorable scenes with Shaw, as well.

The production values are strong, as well, with an effective set by Rob Lippert, and well-crafted costumes by Michele Friedman Siler. There’s also striking lighting by Michael Sullivan, excellent sound design and projections by Kareem Deanes, and good use of evocative music as the story unfolds. 

Overall, The Immigrant is a show that strikes many emotional chords, with a story that’s historical, but surprisingly timely as well. What’s especially impressive here, though, is the cast, along with the well-paced staging that holds interest from the first moment.  I’m glad NJT brought it back, so that I could have the opportunity to see it. 

Bryn McLaughlin, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting The Immigrant at the J’s Wool Studio Theatre until October 29

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