Posts Tagged ‘philip boehm’

“End of the World” Sings, Dances and Satirizes in Whimsical Fashion at Upstream

Posted in St Louis Theatre, tagged , , , , , , , on April 20, 2026| Leave a Comment »

The End of the World Cabaret
by Jura Soyfer, Adapted by Philip Boehm
Music by Paige Brubeck
Directed by Lizi Watt
Upstream Theater
April 17, 2026

Chris Tipp, Amarachi Kalu, John Flack, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

At least in terms of the premise, Upstream Theater’s latest production reminds me of the recent film Don’t Look Up, although it was originally written decades earlier. Austrian playwright Jura Soyfer was writing a few years before the beginning of World War II, but many of the themes in his show, The End of the World Cabaret, are surprisingly timely, although not quite as bleak as more modern “end of the world” works tend to be. It’s been adapted by Upstream’s Philip Boehm, and directed by Lizi Watt, featuring a lively cast and stellar (pun intended) production values. 

This is also a musical, with a catchy score by local musician Paige Brubeck of Sleepy Kitty, and beginning with a lively song sung out in space by the Sun (Jane Paradise) and several of the colorfully attired planets, including Mercury (Caitlin Mickey), Venus (Isaiah Di Lorenzo), Saturn (Amarachi Kalu), the erratic Pluto (Ashwini Arora), and Earth (Sarah Wilkinson), who has become “out of step” with the other planets to the point in which the Sun suggests something drastic. After consulting with the Moon (John Flack), the planets enlist a passing comet named Konrad (Chris Tipp) to alter his course and rid the planet of the troublesome humans who live there. As the comet hurtles toward Earth, the perspective shifts to the surface, where the impending apocalypse becomes front page news, and Professor Peep (also Tipp) is charged with inventing a machine to deflect the comet. Peep is earnest and persistent, but the problem is that the various leaders seem more interested in their own reputations and propaganda than actually saving the planet. Of course, there are also enterprising companies and millionaires who exploit the occasion for their own benefit, all the while not seeming to grasp the seriousness of the threat. The tone is satirical and largely comic, but there is an underlying sense of desperation and futility as Peep makes his way around the world in search of someone, anyone, who will help him build his machine. It all seems hopeless, but is it really?

There’s a lot to think about here, and many, many parallels to today that are emphasized in this adaptation, although the overall vibe is also very 1930s in look, style, and attitude. I won’t spoil the ending, but I will say that the show comes across as both a celebration and a criticism of humanity, with their creativity and energy on one level, and self-interest and greed on another. The overall whimsical vibe is carried off especially well in the production design, from Patrick Huber’s colorful and creative set to Max Florida’s scenic painting, Maria I. Straub’s props, and the wonderfully vibrant costumes by Meredith LaBounty and Anabel Weiland that feature both wildly fanciful and period appropriate outfits, as the characters and situations demand. There’s also excellent work from lighting designer Steve Carmichael, contributing to the overall whimsical and increasingly tense tone as the story goes on. Aidan Siliceo-Roman’s sound is also strong, as is Joe Schoen’s music direction and Dawn Karlovsky’s vibrant choreography.

As for the performances, they are fantastic, led by Tipp in a remarkably versatile performance as the determined, increasingly frustrated Peep and as the intrepid, personable guitar-toting comet Konrad. Tipp’s presence, energy, and vocals are highlights, as are the vocals from Mickey in an operatic moments;, Paradise as the Sun and various roles;, Flack as the personable Moon and others; Di Lorenzo as a passionate Venus; Wilkinson in several roles including the melancholy Earth; Kalu and Blindauer also in a variety of roles from planets to performers; and Arora in several roles including a friendly pup and the flighty Pluto.  The entire ensemble works together with enthusiasm and excellent timing, in the general satirical spirit of the show, while also carrying across the more weighty moments when they occur.

The End of the World Cabaret is a show that’s bound to provoke lots of thought and conversation, and the comparison between the 1930s mindset and today’s is especially notable. All the cultural references thrown in add to the laughter, and there’s much to ponder on the nature and worth of humanity as well. It’s a witty, challenging, entertaining production.

Isaiah Di Lorenzo, Caitlin Mickey, Jane Paradise, Patrick Blindauer, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

Upstream Theater is presenting The End of the World Cabaret at the Marcelle until May 3, 2026

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Upstream’s “Orchard for Chekhov” is a Bittersweet, Thoughtful Showcase for Strong Cast

Posted in St Louis Theatre, tagged , , , , , on November 14, 2025| Leave a Comment »

An Orchard For Chekhov
by Pedro Brício
Translated by Steven K. Smith
Directed by Philip Boehm
Upstream Theater
November 8, 2025

Sally Edmundson, J. Samuel Davis
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s mission of bringing thought-provoking plays from around the world to St. Louis is continuing with their latest production, An Orchard for Chekhov, by Brazilian playwright Pedro Brício, translated by Steven K. Smith and directed by Philip Boehm. This intriguing show examines the relationships between fantasy and reality, the arts and the harsh realities of life, along with culture clashes and familial struggles. Featuring a strong cast led by two especially memorable performances, it’s an intriguing, thoughtfully staged show.

The play is led by a truly dynamic and richly characterized performance by Sally Edmondson as Alma Duran, a well-known stage actress who is between jobs and has come to stay with her daughter Isadora (Jocelyn Padilla) and son-in-law Otto (Aaron Orion Baker) in their small apartment in Rio de Janeiro. Alma, who is hoping to soon star in a production of Anton Chekhov’s The Cherry Orchard, has taken on a young theatre student, Lalá (Sarah Wilkinson) in order to make some money while she’s between roles. As physician Isadora and police captain Otto deal with issues in their relationship, and Isadora worries about her mother’s health, the future of Alma’s upcoming production comes into doubt, and Alma finds herself wandering the grounds of her daughter’s building, where she meets a mysterious man (J. Samuel Davis) who claims to be Chekhov himself, and despite Alma’s initial skepticism, the two form a friendship, giving Alma some hope while the rest of the characters–and especially Isadora–continue to worry about her. What ensues is a blend of comedy and drama with hints of tragedy, kind of like The Cherry Orchard, and–in the hands of the excellent cast and direction–an ideal acting showcase for its leads.

As previously mentioned, Edmundson gives a marvelous, well-rounded performance as Alma, balancing humor and drama well and making the most of the dialogue with her deep, melodious voice. Alma is the heart of this story, and Edmundson makes the most of that fact with a likable, relatable turn as an aging performer looking to maintain her career and her theatrical vision. Davis is also a joy as Chekhov, who may be a vision or an impostor or a figment of Alma’s imagination, but whatever he is, his chemistry with Edmundson is delightful, and his presence drives important aspects of the plot. These two are the biggest standouts, but the rest of the cast is also strong, although the part of Isadora seems a bit one-note, although that seems to be more of a writing issue, and Padilla makes the most of the role. Baker is memorable finding the sympathy in the troubled Otto, and Wilkinson has a fine turn as the hopeful young talent, Lalá, coming across as both passionate towards her goals and compassionate toward Alma and her family. 

The creative team does an excellent job of creating the world of the show, as well, with Patrick Huber’s vivid set credibly creating the vibe of an urban beachfront condo development, and Jamey Pearson’s scenic painting,  Steve Carmichael’s lighting and Kristi Gunther’s sound help further the mood and setting. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the characters appropriately, especially in the stylish flair of Alma’s outfits, which say a lot about her character and personality. Kudos also go to samba consultant Márick Starick, as the dance elements add much to the overall atmosphere of show.

Overall, while there are a few issues involving the interweaving of some of the plots and communicating of some background information, An Orchard for Chekhov is a fascinating, well-characterized play with a first-rate leading performance. It explores aspects of Brazilian culture as well as life in the theatre, and themes from Chekhov that parallel the main story. It may be helpful to read or see The Cherry Orchard before seeing this play, or at least read a synopsis. Again, I can’t say enough about the quality of the performances here, especially Edmundson and Davis. It’s a master-class in acting, as is fitting for a show about theatre. 

Sarah Wilkinson, Jocelyn Padilla
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting An Orchard for Chekhov at the Marcelle Theatre until November 23, 2025

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Excellent Cast Paints Memorable “Pictures” at Upstream

Posted in St Louis Theatre, tagged , , , , , , on January 30, 2025| Leave a Comment »

Pictures From a Revolution
by Tino Caspanello
Translated by Haun Saussy
Directed by Philip Boehm
Upstream Theater
January 24, 2025

Andre Eslamian, J. Samuel Davis, Lizi Watt, Isaiah DiLorenzo
Photo by ProPhotoSTL
Upstream Theater

Protest and revolution are on stage currently at Upstream Theater, along with a strong dose of cynicism, satire, and character study, with a backdrop formed by classic works of art. Pictures From a Revolution, from playwright Tino Caspanello–translated by Haun Saussy and directed by Upstream’s Philip Boehm–is an intriguing look at revolutionary fervor and idealism, power dynamics and greed, and how human nature can affect even causes whether noble, nebulous, or nefarious. At Upstream, this fast-moving but reflective play features impressive production elements and a strong cast of local performers for fascinating–and often surprisingly hilarious–evening of theatre.

The setting is in an unnamed city in an unnamed country, where three holdouts of an essentially dying revolutionary movement–rebelling against an unseen oppressive government–keep watch over their base at an abandoned stadium. These three men are known by their numbers rather than names. There’s the leader of the group, 892 (Isaiah DiLorenzo), who holds on to the group’s rulebook and touts it with insistent fervor; along with the group’s oldest member, 584 (J. Samuel Davis), who is also devoted if somewhat weary; and the youngest, 137 (Andre Eslamian), who is earnest and determined. Although the three are still dedicated to their somewhat nebulous cause, a sense of distrust has begun to show in their relationships with one another, especially for the increasingly suspicious 892. Soon, after 584 is sent out to catch a cow for food, he returns having apparently caught a Woman (Lizi Watt) by accident. Or is it really an accident? As the Woman insinuates herself into the group, apparently supporting their cause, the men become more an more suspicious of one another, and elements of the group’s history are revealed and the story marches steadily toward a seemingly inevitable conclusion. 

The action is presented essentially in a series of tableaux based on famous works by artists such as Rembrandt, Manet, Caravaggio, Van Gogh, and others, and punctuated by hummed snippets of “The Internationale” between scenes to maintain the “revolutionary” atmosphere. The staging is striking, with a vivid set by Patrick Huber–featuring scenic painting by David Schuman–that manages to evoke both the idealism and the futility of the movement, along with excellent mood lighting by Steve Carmichael and evocative sound design by Boehm and Huber. Michele Friedman Siler’s costumes are also memorable, reflecting the characters and the dystopian world they live in with appropriate vividness. The pacing is timed well, with moments of reflection, waiting, and urgency as needed, and the the characters are richly drawn.

Those characters are impeccably played by a strong cast, with DiLorenzo, Davis, and Eslamian all having their memorable moments as the three zealous devotees who try to keep their cause alive, but struggle with lack of resources, rejection by their former allies, and that growing sense of distrust amongst themselves, which is further encouraged by the addition of Watt, who is terrific as The Woman, whose motives aren’t always clear–by design.  DiLorenzo, as the fiery, increasingly suspicious 892, gives a dynamic performance, and he’s matched by Davis as the well-meaning but weary 584, and Eslamian as the somewhat goofily earnest 137. The relationship dynamics between all four cast members are terrific, bringing out a good deal of humor as well as a growing sense of tension. 

Pictures From a Revolution isn’t a long play–running about 90 minutes with no intermission. Still, there is plenty of time here for a fascinating, fast-moving examination of the conflict between utopian idealism and the realities of the baser aspects of human nature. It’s certainly food for thought, and the focus on the paintings gives it an artistic flair that provokes even more thought and reflection. It’s another intriguing St. Louis premiere from Upstream Theater. 

Isaiah DiLorenzo, Lizi Watt, J. Samuel Davis, Andre Eslamian
Photo by ProPhotoSTL
Upstream Theater

Upstream Theater is presenting Pictures From a Revolution at the Marcelle Theatre until February 9, 2025

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Simple, Effective Staging, Memorable Cast Highlight Upstream’s Classic “Dream”

Posted in St Louis Theatre, tagged , , , , , on October 23, 2024| Leave a Comment »

Life is a Dream
by Pedro Calderón de la Barca
Translated by G.J. Racz
Directed by Philip Boehm
Upstream Theater
October 18, 2024

Jerry Vogel, Reginald Pierre
Photo by ProPhotoSTL.com
Upstream Theatre

Upstream Theater is known for its St. Louis premiere productions, as well as highlighting shows from around the world. I don’t know if its latest show, Life is a Dream, is a local premiere, but it’s likely to be the first exposure to this Spanish classic for a lot of local theatregoers. It’s a classic work of theatre written by a playwright who has been referred to as “the Spanish Shakespeare”, although it doesn’t seem to be as well known in the USA as it should be. Whether you are familiar with this work or not, the production at Upstream, translated by G.J. Racz and directed by Philip Boehm, is an energetically staged, well-cast production that’s sure to provide an ideal introduction to the uninitiated (like myself).

The play has somewhat of a complex blend of subplots and characters. Although this is a Spanish play, the setting is in Poland, in the court of the fictional King Basil (Jerry Vogel), who has been influenced by fear of bad omens concerning his only son and heir, Segismund (Reginald Pierre). Because of his interpretation of certain weather patterns and other signs, Basil has been afraid that his son will become a tyrant if he is allowed to rule, so the king has locked the prince up in a tower to be raised by his tutor Clotaldo (Gary Glasgow). Not surprisingly, the young man has grown up bitter and confused, and although the King has designs to leave his throne to the Duke of Moscow, Astolf (Mitchell Henry-Eagles)–whom he has agreed to allow to marry his niece, Stella (A. J. Baldwin)–Basil has become overcome with remorse, deciding to summon Segismund to court and reveal his identity, to see how he will react to his newly disclosed royal position, with the plan to just tell him its all a dream and send him back to the tower if he reacts badly. That sounds like a great idea, right? Meanwhile, a Russian noblewoman, Rosaura (Jennifer Theby-Quinn) has shown up at the tower disguised as a man and accompanied by her servant, Clarion (Alan Knoll), meeting Segismund and Clotaldo before they are taken to court, and without knowing that Clotaldo has a secret that directly affects Rosaura, who in turn has unfinished business with Astolf. All these stories weave together in complicated and sometimes surprising ways involving secrets, hidden identities, confusion between dreams and reality, and more. It’s a fascinating show that can be a little confusing at times, and the ending will certainly be fodder for debate, but I won’t say more because that will spoil the drama.

While this is mostly a drama, there is a fair amount of comedy, as well as some action in the form of well-choreographed fights directed by Michael Pierce, who along with Bryce A. Miller, plays a variety of “guards, servants, and soldiers”. The set is simple but striking, designed by Patrick Huber and consisting of a slatted wooden platform with an ethereal backdrop, lit with whimsical flair by Steve Carmichael. There are also remarkably detailed costumes by Michele Friedman Siler and excellent sound design by Philip Boehm and Sabria Bender. The production looks period-specific and distinctive, adding much to the overall effect of the production.

The cast is first-rate, led by standout turns from Vogel as the conflicted King Basil, Pierre as the constantly frustrated but determined Segismund, Glasgow as the secretive but loyal Clotaldo, and Theby-Quinn has the persistent Rosaura. Henry-Eagles and Baldwin are also memorable as Astolf and Stella, and Knoll is a delight as the devoted but hapless Clarion, who has many of the show’s best comic moments, but also some memorable dramatic moments. Pierce and Miller lend strong support in their various roles, as well. It’s a strong ensemble all around, and the brisk staging helps to maintain the flow of the many interwoven plots. There are some slower, talkier moments, but for the most part, this is play that moves fairly quickly despite its fairly long running time.

Life is a Dream is considered an international classic of theatre, but I have to admit I wasn’t familiar with it before seeing this production. Upstream Theater does an excellent job of introducing works like this that should be better known to audiences in St. Louis. And their productions are staged with consistent excellence. This production at the Marcelle is a wonderfully cast, cleverly staged show that’s both entertaining and thought-provoking. It’s a thoroughly intriguing theatrical experience. 

Jennifer Theby-Quinn, Gary Glasgow
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theatre is presenting Life is a Dream at the Marcelle Theatre until November 3, 2024

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Upstream’s “Marlboro Man” is an Intriguing, Cleverly Staged Drama

Posted in St Louis Theatre, tagged , , , , , on April 20, 2024| Leave a Comment »

Don’t Wait for the Marlboro Man
by Olivier Garofalo, Translated by Philip Boehm
Directed by Philip Boehm
Upstream Theater
April 12, 2024

Isaiah Di Lorenzo, Caitlin Mickey
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s latest production is notable at first glance for its simple but memorable set, giving the audience something to think about before the play even begins. Don’t Wait for the Marlboro Man is a US premiere that presents a story that’s at once highly personal and relatable to modern society. With a convincing cast and clever staging, this is an intriguing show that provides much to ponder and discuss.

The show is presented in an unusual manner, as something of a “living script”, with Eric Conners onstage as a sort of observer, reciting many of the stage directions as the story plays out. That story involves Sarah (Caitlin Mickey), an ambitious businesswoman who is anxiously waiting in what appears to be a hospital waiting room. While her fiancé is undergoing surgery after having been critically injured in a motorcycle accident, Sarah waits for news not only of her unnamed fiancé’s health, but also of an apparently urgent business matter. She is joined in the waiting room by Pedro (Isaiah Di Lorenzo), who apparently was a witness to the accident and knows a lot about Sarah, even though she says she hasn’t met him before.  Although she is wary of him at first, they are soon engaged in conversation about everything from the accident, to Sarah’s career goals, to junk food, life priorities, and the habits and behaviors of ants. There’s a suggestion that Sarah might be involved in something dangerous and shady, and that she’s neglected her fiancé to focus on her job. There’s also some question about who Pedro is exactly, and why he is really there in the waiting room. 

The staging is inventive, with a set by Mike Loui that sets the action in something of an observation area, as the waiting room is surrounded on three sides by a walkway that Conners traverses as he recites the stage directions in a somewhat clinical manner. The lighting by Steve Carmichael is also notable here, in giving a bit of a stark air to the proceedings. There’s also excellent sound design by Michael Musgrave Perkins and Philip Boehm, and well-suited costumes by Michele Friedman Siler. The frequent talk of observing ants in a colony is strongly suggested by the staging and structure, as the audience–along with Conners–become the observers, and Mickey and Di Lorenzo are the objects of that observation. 

The story itself is mostly about its characters and larger concepts such as work/life balance, ethics in business, priorities in relationships and “the greater good”, and more. There’s a lot to think about here, and even some open-ended questions. What’s not in question, though, is the quality of the performances. Di Lorenzo is convincingly challenging and enigmatic as Pedro, and Mickey is also strong as the credibly anxious, distracted Sarah. Conners is a strong presence, as well, with his descriptions seeming somewhat intrusive at first, but becoming a more obviously essential part of the story as the play continues.

This is a challenging play, with a lot to think about. I find myself still thinking about what this story means, and especially about the characters, even a while after seeing it. It leaves a strong impression, with its clever staging and especially strong performances. It’s a fascinating new production from Upstream Theater. 

Isaiah Di Lorenzo, Caitlin Mickey, Eric Conners
Photo by ProPhotSTL.com
Upstream Theater

Upstream Theater is presenting Don’t Wait for the Marlboro Man at the Kranzberg Arts Center until April 28, 2024

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Upstream’s “Bitter Fruit” is Mysterious, Compelling

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

Bitter Fruit
by Héctor Levy-Daniel
Directed by Philip Boehm
Upstream Theater
October 13, 2023

Jane Paradise, Jennifer Theby-Quinn
Photo by ProPhotoSTL.com
Upstream Theater

The latest production from Upstream Theater is a small-cast, one act, emotional drama of intrigue and mystery. Bitter Fruit, by Argentinian playwright Héctor Levy-Daniel, is a well-staged, provocative production that will keep audiences thinking. It’s also a showcase for some excellent local performers.

The story isn’t entirely linear, and it’s not always clear what the relationships are, but a lot of that seems to be intentional. There’s an unfolding mystery here, beginning as the wealthy María (Jennifer Theby-Quinn) comes home to the mansion she shares with her mother Teresa (Michele Burdette Elmore) to find a new housemaid, Luisa (Jane Paradise), who María instantly dislikes and distrusts. Luisa is somewhat evasive about her background and why she came to work there, but María is especially unsettled because the new maid seems to be constantly watching her. María is also involved in a dispute with local factory workers who are protesting their working conditions, and some have died under mysterious circumstances. She meets with a representative of the workers, Pedro (Isaiah Di Lorenzo), who is shown through flashbacks to be no stranger to María, although their relationship is much altered from what it had been. While local authorities investigate the suspicious deaths, María has her own secrets to keep, all while she grows ever more suspicious of Luisa. 

It’s a fascinating play, and the performances are especially strong, with Theby-Quinn convincing in the difficult role of the haughty María, who is a compelling character even if she isn’t especially likable. Paradise also makes a strong impressive as the evasive but determined Luisa, and Di Lorenzo has some excellent scenes with Theby-Quinn that both add to the mysteries of the story and add depth to their situations. There’s also a strong performance from Elmore as the seemingly well-meaning Teresa, who has her own secrets and may know more than she lets on. There are a lot of unanswered questions here, but the drama is intense, the plot unfolds with precisely paced timing, and the cohesive ensemble plays the palpable tension well.

The set by Patrick Huber and lighting by Steve Carmichael, along with Michele Siler’s costumes, add to the overall mood and atmosphere of the production. There’s also an excellent, evocative musical score, performed live on guitar by Lliam Christy, who plays with skill and energy, adding to the emotional vibe of the story.

Overall, this is an intriguing St. Louis premiere production, looking at a time in relatively recent Argentinian history that might not be familiar to American audiences. There’s a useful note in the program from the University of Pennylvania’s Dr. Jennifer Joan Thompson, explaining some of the context. Bitter Fruit is another thought-provoking work of theatre from Upstream. 

Jennifer Theby-Quinn, Michele Burdette Elmore
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting Bitter Fruit at the Marcelle Theatre until October 29, 2023

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Upstream’s Ambitious “Good Ship” Sails with Poignancy and a Few Waves

Posted in St Louis Theatre, tagged , , , , , on November 7, 2022| Leave a Comment »

The Good Ship St. Louis
by Philip Boehm
Original Music by Anthony Barilla
Directed by Philip Boehm
Upstream Theater
November 6, 2022

Upstream Theater’s latest production is a World Premiere original, with intriguing subject matter and a strong cast. Based on true events, this show explores the issue of how refugees are treated in times of political upheaval, showing that the more things change, the more they remain the same. It’s a highly ambitious project, and it’s a compelling story with simple but strong production values and a particularly effective ending, although there are a few bumps along the artistic voyage. 

The story is presented with a modern-day framing device, and a few looks at the refugee experience from various times in modern history, focusing much on St. Louis. The main story follows the passengers and crew of the M.S. St. Louis, a German vessel that was carrying many Jewish passengers to Havana, Cuba, in 1939. The ship sparked much controversy and international headlines, and after several countries (including the United States) refused to receive the ship and its passengers, it was eventually sent back to Europe, finally being allowed to dock in Antwerp, Belgium. The story of the ship is interspersed with the modern-day story of Susan (Kari Ely), who upon the death of both of her parents, finds a trove of boxes, documents, pictures, and various items in her attic relating the story of a married couple–the German-born Herbert (Jeff Cummings) and the Polish-born Rosa (Nancy Bell), who were passengers on the ship. The connection between Susan–whose parents were both raised in Irish-American families–and this couple becomes apparent eventually, leading up to a truly poignant conclusion and ending sequence.

In the meantime, we also get to see the stories of other passengers and crew, including sympathetic Captain Schröder; the captain’s steward Leo Jockl (Eric J. Conners), who harbors a secret; and Nazi group leader and second class steward Schiendick (Christopher Hickey), who is a secret spy; and several of the Jewish passengers including Recha (Sarah Burke), and her ailing professor husband Moritz (Tom Wethington), as well as Charlotte (Kathleen Sitzer), who was raised in a well-to-do family. We also get to hear the stories of a few people affected by different conflicts over the years, including Bosnian refugee Jasmin (Conners), who settles in St. Louis; Leyla (Sitzer), a Syrian refugee who settles in Lebanon; and Ukrainian Latin teacher Lidia (Burke), who finds her knowledge of Latin useful as she travels between various countries. There’s also a series of vignettes featuring three characters with similar names in similar situations, reacting to the news of the day in various times and places–Federico/Freddie/Frederick/Fred (Hickey), and Benito/ Benny/Benedict/Ben (Wethington), who discuss the news of the world and sports; and Maria/Marie/Mary/Marisa (Mariand Jagels Felix), who waits tables (or who could, considering the circumstances). It’s a compelling story with perhaps a few too many plots and characters, although the connection to the refugee experience and attitudes toward refugees over the years is an important idea. The structure can get a little muddled and drag at times, although the main story of the M.S. St. Louis remains compelling despite the occasionally clunky presentation, involving projections and titles describing what’s happening at various moments in the story.

I guess the best way to characterize this play in terms of genre is to call it a “sort of musical”. I say “sort of” in that it doesn’t present itself as a musical initially, so the first time characters start singing, it comes across as somewhat jarring, and the songs aren’t as pervasive as they are in most musicals. I guess you could call it a “play with music”, but the songs do drive the plot when they appear, but they are not as strong an influence as they could be. The music is a mixture of original songs by Anthony Barilla and a few traditional songs and popular songs of the era. It’s well-performed by music director Henry Palkes on piano and cellists Coco Wicks and Ethan Edwards, and the actual singing is good, with varying degrees of vocal quality among the cast, although regardless of vocal power, everyone brings a commendable degree of emotion to their songs. 

The most effective story  line is that of the M. S. St. Louis itself, and especially that of Rosa and Herbert, who are played with strong chemistry and poignancy by Bell and Cummings. Ely also makes the most of her somewhat underwritten role as Susan, although she and Bell probably have the single strongest moment in the show, toward the end. There are also memorable performances from Mayer as the conflicted Captain, and Burke and Conners in a variety of roles each, as well as Hickey and Wethington, also in a variety of roles. Everyone gives their all, and the performances are the highlight of the production.

The show also boasts a strong sense of time and place, well-maintained through the means of Laura Fine Hawkes’s well-realized unit set that suggests the deck of the ship, aided by Barilla’s atmospheric music and sound design, as well as Steve Carmichael’s excellent lighting and Laura Hanson’s detailed costumes. Brian McLelland and Mona Sabau provide memorable projections, as well, even though the use of these projections sometimes lends a “classroom instruction” type of air to the proceedings, as the show occasionally errs in the way of telling rather than showing the plight of its characters. 

Even though I do have some quibbles with the structure and presentation of the story, for the most part I find it poignant, thought-provoking, and effective. Especially considering the strong cast and compelling subject matter, this is a promising new play from Upstream Theater. The Good Ship St. Louis may have a bit of a rough journey at times from a storytelling standpoint, but it’s very much a worthwhile one to see. 

Upstream Theater is presenting The Good Ship St. Louis at the Marcelle Theatre until November 20, 2022

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Unusual, Cleverly Plotted “Wildfire” Heats Up Stage at Upstream

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

Wildfire
by David Paquet
Directed by Philip Boehm
Upstream Theater
January 25, 2020

Tom Wethington, Nancy Bell, Jane Paradise
Photo by ProPhotoSTL.com
Upstream Theater

I came out of Wildfire unsure of exactly how to describe it at first. It’s not a traditional type of show, that’s for sure, but it certainly provides much to think about. The latest production from the always excellent Upstream Theater isn’t very long in terms of running time, but it packs a lot of story, characterization, and thought-provoking questions into its 75 minutes on stage. It’s also a great showcase for its impressive cast of three.

The structure of the show is fairly straightforward, or seemingly so. Its three cast members each play two different characters over the play’s three parts. The first one, called “The Bonfire” features all three performers as close but somewhat combative triplets who all have their own unique goals–anxious, controlling new mother Claudette (Jane Paradise); lonely, cookie-baking Claudine (Nancy Bell); and commanding, secretive Claudia (Tom Wethington). The three sisters talk, plan, hope, and bicker, leading to a somewhat startling conclusion. Part 2, “The Dragons”, features new characters Callum (Wethington) and Carol (Paradise) in a halting, quirky sort of romance which has its own bizarre twists. Finally, Part 3, “The Fever” is more of an extended monologue, as Caroline (Bell) recounts her unusual and disturbing sexual attraction to a particular type of man. I won’t spoil the details here, but the plotting here is especially clever, in that all three stories turn out to be connected, in some ways that become more predictable as the show goes on, and other ways that especially surprise, even though in hindsight, they shouldn’t be that surprising. The overall theme, as highlighted in Upstream Managing Director Peter Mayer’s note in the program, seems to be about the explosive power (and consequences) of raw desire and longing. It’s a thought-provoking piece, to be sure, with a good deal of quirky, sometimes disturbing and macabre humor, with some moments of sadness and regret along for good measure.

There’s a great cast here to make the most of the well-drawn, offbeat characters and situations. All three performances are impressive, from their convincing sibling chemistry in the first part as three very different sisters, to the quirky romantic chemistry of Wethington and Paradise in the second part, to Bell’s bizarre and boldly performed monologue in the third part, this is a top-notch ensemble infusing a great deal of sometimes comic, sometimes tragic, always intriguing energy to this rather off-the-wall cycle of stories.

The production values here are simple, but effective, with a black-and-red color scheme that is reflected in Laura Hanson’s costuming as well as Michael Heil’s squarish unit set. Steve Carmichael’s lighting credibly adds to the mystique, as well, as do Traci Lavois Theibaud’s striking productions. There’s also an appropriately ominous soundtrack provided by composer and sound designer Anthony Barilla.

Wildfire isn’t a show for everyone. If offbeat, sometimes sharp and disturbing humor bordering on horror-comedy isn’t your thing, this play probably won’t be, either. Still, it’s a prime showcase for its excellent cast in a series of stories that are sure to get you thinking, and wondering. It’s an impressive, if unusual, theatrical accomplishment.

Jane Paradise, Tom Wethington
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting Wildfire at the Marcelle Theatre until February 9, 2020

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Upstream Takes Audiences on a Witty, Philosophical, Fascinating Trip to “Wittenberg”

Posted in St Louis Theatre, tagged , , , , , on January 30, 2019| Leave a Comment »

Wittenberg
by David Davalos
Directed by Philip Boehm
Upstream Theater
January 25, 2019

Alan Knoll, Steve Isom Photo by ProPhotoSTL.com Upstream Theater

It almost sounds like a set-up for a joke–Hamlet, Martin Luther, and Doctor Faustus walk into a classroom. What’s the punchline? Well, there’s a lot more to Upstream Theater’s latest show than punchlines. Wittenberg by David Davalos takes its intriguing premise and develops it into a compelling, funny, and thoughtful story, and Upstream has staged it with some impressive local talent.

So, this is a mash-up of sorts. It features a real-life character and two iconic fictional protagonists from theatrical history and puts them together in a way that provokes humor, yes, but also a lot of thought. The setting is Wittenberg, Germany, and the time is 1517. Hamlet (Corey Boland) is an aimless young student at the university, and he looks up to his favorite teachers, Doctor John Faustus (Steve Isom), who teaches philosophy; and Martin Luther (Alan Knoll), who teaches theology. The focus seems to be on Faustus most of the time, and his affectionate but often antagonistic relationship with Luther. They are essentially opposite influences on the impressionable Hamlet, who isn’t sure he’s ready to be king of Denmark and is still trying to figure out his purpose in life. There are no literal “deals with the devil” for Faustus here. Instead, he tries to make the most of life, reaching for experiences to validate him, such as his relationship with a woman, Helen (Caitlin Mickey, who plays several roles). The continuing philosophical and religious struggles and dilemmas of Faustus and Luther continue to play out and influence Hamlet’s and their own choices, as Luther vacillates about what to do about his theological issues with the Catholic Church, Hamlet struggles with identity, and Faustus tries to influence both of them while also trying to make sense of his own life.

It’s a fun show, with some interesting twists like having Faustus moonlight as a lute-playing lounge singer, Hamlet playing tennis with an offstage Laertes (voice of Nicholas Henke), Faustus and Luther as bickering friends, and more. All of the performers are excellent, with Isom giving the best performance I’ve seen from him as Faustus, portraying him as charming and fun-loving, but also with an underlying sense of sadness about him. Knoll is also fantastic as the sometimes strident, sometimes reticent Luther, and the scenes between him and Isom are the highlight of the production. Boland is also a delight as the eager-to-learn Hamlet, and Mickey does an excellent job in several roles, including the sophisticated Helen (described in the program as a “lady of pleasure), cheerful barmaid Gretchen, and–in an amusing vision of Hamlet’s–the Virgin Mary.

The space at the Kranzberg Arts Center is very small, but the production makes the most of that space, with a stunningly realized set by Michael Hall that portrays Faustus’s richly appointed office and desk laden with various artifacts and gadgets. The costumes by Laura Hanson are sumptuously detailed, as well, and the props by Rachel Tibbetts are excellent. There’s also striking atmospheric lighting by Steve Carmichael and sound by Philip Boehm to help maintain the mood and occasionally whimsical atmosphere of the production.

This is a play that has to be seen to be believed. It’s easy to describe in one sense, but it really has to be experienced. WIth a top-notch cast, stellar production values, and a smart, thoughtful, witty script, Wittenburg is a trip through the imagination that’s well worth taking.

Casey Boland, Steve Isom, Caitlin Mickey Photo by ProPhotoSTL.com Upstream Theater

Upstream Theater is presenting Wittenberg at the Kranzberg Arts Center until February 10, 2019

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Upstream’s “Infected” Tells a Strange, Affecting Story

Posted in St Louis Theatre, tagged , , , , , , on February 18, 2018| Leave a Comment »

Infected
by Albert Ostermaier
Translated by Philip Boehm
Directed by Patrick Siler
Upstream Theater
February 15, 2018

Alan Knoll
Photo by ProPhotoSTL.com
Upstream Theater

Infected, the latest play from Upstream Theater, is something of an immersive experience. The audience members are given masks to wear when they enter the theatre, and a voice instructs when to put them on, and the clincal, antiseptic atmosphere of quarantine is set and maintained throughout. The story itself is somewhat confusing, although it provides an excellent showcase for actor Alan Knoll.

Knoll plays a nameless character described in the program as “a trader in quarantine”, and that’s essentially what the play is about. We see him in a catatonic state as the play begins, and then an attendant gives him an injection of something and he wakes up, agitated and full of excuses and stories. He’s a stock trader, apparently, and the market has been his life, but now he’s being held in quarantine for an unnamed illness, and we get to hear about his life, his personal philosphies, his family, his hopes, his fears, and his mistakes. It’s not made clear what illness he has, and although there are suggestions that he’s done something to put himself here, the story isn’t entirely clear. It’s also not clear whether or not this “quarantine” is real or just an elaborate dream or delusion. What we do see, though, is a man who has sold his soul to the market to the degree that he’s lost touch with his priorities, his family, and possibly even reality itself. Alan Knoll gives a compelling performance as the trader, displaying a full range of emotions as we see this desparate, once confident man try to make sense of his world and the predicament in which he finds himself. The trader isn’t the most likable of characters, but Knoll makes him interesting, and engaging to watch. It’s an impressive performance that takes a lot of energy.

Knoll’s performance is augmented and assisted by the technical elements of the show that work to create the chilling, intense atmosphere of this trader’s confinement. David A. N. Jackson provides a variety of sounds that contribute to the story–sometimes responding to Knoll, and sometimes underscoring his tales. Patrick Huber’s simple, all-white set and Geordy van Es’s dramatic lighting help to maintain the overall unsettling feel of the story. There’s also excellent work from media designer Michael Dorsey, props designer Elizabeth Lund, and costume designer Michele Friedman Siler, who outfits Knoll in an appropriately businesslike three-piece suit that becomes increasingly rumpled as he sheds the outer layers and grows more animated as the play continues.

The story of Infected isn’t always easy to follow, but the main attractions here are Knoll’s remarkable performance and the overall atmosphere for the audience. It’s as if we’re all in quarantine, trying to figure out what’s going on. It’s a show that’s definitely going to leave an impression, and keep its audiences guessing–and thinking–even after they leave the theatre.

Alan Knoll
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting Infected at the Kranzberg Arts Center until February 25, 2018.

 

 

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