Posts Tagged ‘prism theatre company’

Energetic Cast Propels Prism’s Gender-bending “[title of show]”

Posted in St Louis Theatre, tagged , , , , , , , , on August 21, 2024| Leave a Comment »

[title of show]
Music and Lyrics by Jeff Bowen, Book by Hunter Bell
Directed by Sam Hayes
Choreographed by Cady Bailey
Prism Theatre Company
August 16, 2024

Katie Orr, Jaelyn Hawkins
Photo by Cady Bailey
Prism Theatre Company

Prism Theatre Company is staging their first musical, with a version of meta-musical [title of show] subtitled “the gender bend”, casting the show with women in all the roles. As originally developed, this musical has a gutsy, self-referential and quirky vibe that enlivens the proceedings and makes for a fun lesson in what makes a musical while at the same time serving as an ode to friendship and collaboration in the creation of art. At Prism, the production features an enthusiastic cast and energetic staging. 

The show is essentially based on the creation of the show itself, as writers Jeff Bowen and Hunter Bell collaborated and took their unlikely little musical to Broadway. It shows how the two friends came up with the concept and wrote the show in a few weeks to make the deadline for a theatre festival, enlisting their friends Susan and Heidi to star, and then later performed it off-Broadway and used a YouTube series to help raise their profile so they could bring the show to Broadway. Along the way, and with the help of their accompanist Larry, the duo and their cast explore the world of theatre in New York, as well as musical theatre conventions, famous musical flops, various references to other musicals and especially Into the Woods, and form a close bond that grows from the process of creating art together.

The cast features Katie Orr as Jeff, Jaelyn Hawkins as Hunter, Rachel Bailey as Susan, and Savannah Fernelius as Heidi, along with music director/keyboardist Mallory Golden as Larry. It’s a lively, energetic cast, with strong characterization and comic timing, and although some of the singing has a rough quality, that works for this show with its “grass roots” vibe. The script itself features clever songs and sometimes too-clever jokes and occasional moments of “profanity as humor” where simply saying a word gets a laugh. For the most part, though, this is an insightful, fun show, with a great cast and energetic, fast-paced staging.

The set by Caleb D. Long is simple but effective, and the costumes by Sam Hayes suit the characters well. There is excellent lighting by Catherine Adams and sound by Golden. This small-scale show works especially well in the Kranzberg Arts Center’s black box space, with the audience seated up close in an intimate setting.

This is the first production of this show I’ve seen, and I’m glad for the introduction. If you love theatre, you’re probably going to get many of the references here, and the overall attitude is one of love for theatre and the creative process. The cast and crew seem to be having a great time, as well. It’s a fun show, with an infectious energy. It works well as Prism’s first venture into musicals.

Jaelyn Hawkins, Rachel Bailey, Katie Orr, Mallory Golden, Savannah Fernelius
Photo by Cady Bailey
Prism Theatre Company

Prism Theatre Company is presenting [title of show] at the Kranzberg Arts Center until September 8, 2024

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Prism Theatre Company’s Informative, Atmospheric “Wrens” Introduces Memorable Characters, Strong Performances

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on September 22, 2023| Leave a Comment »

Wrens
by Anne V. McGravie
Directed by Trish Brown
PRISM Theatre Company
September 15, 2023

Avery Lux, Ashley Bauman, Sarah Naumann, Sadie Harvey, Jade Cash
Photo by Julie Merkle
PRISM Theatre Company

Probably the strongest aspect of PRISM Theatre Company’s new production of Wrens is how deliberately and authentically it sets its scene, time, place, and era. Inspired by the playwrights experiences during World War II, the play features well-defined characters, and a strong sense of setting. It also features some memorable performances by a cast of local performers. 

Playwright Anne V. McGravie’s story is based on her first-hand experiences as a member of the Women’s Royal Naval Service, or “Wrens”. This particular story focuses on a group of Wrens at a base in Scotland at the very end of the war. The seven characters represent various regions of the United Kingdom, including the Welsh, Scottish, and English women of different ages and stages of life. Some, like Jenny (Avery Lux) and Gwyneth (Ashley Bauman), are married to men who are serving in the war, and others are single. There’s also a variety of attitudes toward work, life, and the war–the  orderly Cynthia (Sadie Harvey) objects to the others’ flouting of rules; the aloof Chelsea (Camryn Ruhl) is looked at as a snooty outsider by the rest in the barracks, and young Dawn (Sam Hayes) is dealing with a personal issue that she’s reluctant to share with her colleagues. As the end of the war in Europe is rumored to happen any day, the Wrens also reflect on how the war and their service have changed their lives, and the attitudes towards women in the workforce and in general. There are moments of humor as well as intense drama, as the end of their service looms and various revelations come to light.

The story itself is intriguing and informative, and the characters are well-defined, if sometimes not quite as fleshed-out as they could be. The dialogue is also odd in places, with some of the speech patterns seeming somewhat awkward. Still, it’s a fascinating show, for the most part, and the cast is strong across the board, led by Lux as the protective Jenny, Hayes as the evasive Dawn, and Bauman as the strong-willed Gwyneth, along with Sarah Naumann as the Wrens’ resident writer, Doris. Jade Cash is also memorable as the fun-loving youngest Wren, Meg. Harvey as the stickler Cynthia, and Ruhl as the detached Chelsea also make a strong impression, even if their roles aren’t as prominent. The ensemble chemistry is what especially makes this show work, as it lends much credibility to this story. These characters and their interactions are relatable and highly convincing as a group who has lived and worked together for a while. The various UK accents represented are also impressively done, for the most part.

The technical presentation also makes a memorable impression. The set by Caleb D. Long is meticulously detailed, and the costumes by Sam Hayes are well-suited to the characters and the era. There’s also excellent use of period music, and strong sound design by Jacob Baxley, as well as superb lighting by Catherine Adams.

Wrens does feature some difficult subject matter, as mentioned in the program, and its best recommended for older teen to adult audiences. World War II has been a frequent subject for dramatization, and Wrens offers its own look at an aspect of life during the war that might not be as well-known, especially for American audiences. It’s a compelling drama, taking the audience to a specific time and place with energy and impressive authenticity.

Cast of Wrens
Photo by Julie Merkle
PRISM Theatre Company

PRISM Theatre Company is presenting Wrens at the Kranzberg Arts Center until September 24, 2023

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Prism Theatre Company Explores “Doubt” in Fascinating, Thought-Provoking Drama

Posted in St Louis Theatre, tagged , , , , , , on April 27, 2023| Leave a Comment »

Doubt: A Parable
by John Patrick Shanley
Directed by Trish Brown
Prism Theatre Company
April 22, 2023

Jeffrey David Thomas, Rhiannon Creighton
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company’s latest production may be called Doubt: a Parable, but what’s certain here is its excellence. John Patrick Shanley’s Tony and Pulitzer Prize-winning play is a meticulously crafted, highly thought-provoking look at uncertain situations, the roots of suspicion, and the changing atmosphere in the Catholic church in the early 1960s. Onstage at the Kranzberg Arts Center, Prism’s production features expert staging, thoughtful pacing, and a first-rate cast that makes the already excellent script all the more compelling.

The story takes place at a Catholic elementary school in 1964, during the era of the Second Vatican Council that brought a lot of changes in the life of the Church and Catholic parishioners. Here, the main conflict is between a stern, traditionalist nun, Sister Aloysius (Kate Durbin), and a popular, progressive-minded young priest, Father Brendan Flynn (Jeffrey David Thomas).  The sister, who heads the school, is suspicious of the priest for a few reasons, but she becomes especially upset when Father Flynn has a private meeting with the school’s first Black student, about whose welfare she has been especially concerned. Even before this incident, however, she has instructed the young, enthusiastic young teacher Sister James (Rhiannon Creighton) to keep an eye on the priest, and her suspicions of misconduct on his part only grow as the plot plays out. Sister Aloysius even calls in the student’s mother, Mrs. Muller (Laurell Stevenson) for a meeting to share her concerns, and is met with an unexpected response revealing that Mrs. Muller’s has other reasons to be concerned for her son. As the central conflict plays out, we get to hear Father Flynn preach about the concepts of doubt and the dangers of gossip, as well as sharing his concerns with the highly conflicted Sister James, who has her own conflicts with the more severe older nun. Throughout the play, playwright Shanley is especially careful not to reveal too much, leaving the judgment of what has happened up to the audience, while also setting up credible situations and discussions of the conflicts between the “old” and “new” ways in the Catholic church, as well as real critiques of the hierarchy of the Church, and how the institution has handled accusations of abuse and misconduct that have been revealed over the years and have only become more well-known since the play’s first staging in 2005. 

This is a riveting, thoughtful, well-characterized drama, with excellent roles for all four of its players, all of whom excel in this production. Durbin’s Sister Aloysius is the driving force here, with a strong, severe but caring presence and an authentic-sounding New York accent that enhances her character rather than distracting. Durbin brings out the complexities in the character convincingly, and her influence on the equally excellent Creighton’s Sister James is palpable. Thomas is also impressive as the somewhat enigmatic Father Flynn, managing to convey both genuine concern for his students and the future of the Church, as well as a degree of self-interest and mystery that can lend credibility to Sister Aloysius’s concerns. Stevenson also makes a memorable impression in her relatively small role as Mrs. Muller–conveying the character’s own personal situation and concerns for her son thoroughly in one dramatic scene. 

The staging is inventive and thoughtful, using the small space at the Kranzberg Black Box theatre especially well. Matt Stuckel’s vivid set utilizes various areas of the performing space for ideal dramatic effect, aided by Tony Anselmo’s striking atmospheric lighting and Jacob Baxley’s excellent sound design. The costumes by Sam Hayes are also excellent, suiting the characters well and helping to set and maintain the time and place of the story. 

There’s also somewhat of a relational element to this play, considering the fairly large number of Catholic schools in the St. Louis area. No matter your religious or educational background, however, Doubt: a Parable has a lot to say, with its vivid characterizations and convincing performances telling a tale that’s sure to provoke much thought and discussion. Prism Theatre Company is still fairly new, but they are making their presence known with another excellent production. 

Kate Durbin, Laurell Stevenson
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company is presenting Doubt: a Parable at the Kranzberg Arts Center until April 30, 2023

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Prism’s “Bandera, Texas” Takes a Fascinating Trip Through Time, Geography, and Memory

Posted in St Louis Theatre, tagged , , , , , on August 28, 2022| Leave a Comment »

Bandera, Texas
by Lisa Dellagiarino Feriend
Directed by Trish Brown
Prism Theatre Company
August 26, 2022

Leslie Wobbe, Maggie Lehman, Jenni Ryan
Photo by Dan Steadman
Prism Theatre Company

A brand new St. Louis theatre company is making its debut with a world premiere play, and it’s a promising beginning for both. Bandera, Texas is a family comedy with a touch of drama and a side of fantasy. Staged in a relatively simple setting at the Kranzberg’s Black Box theatre, it focuses on relationships–between parents and children, husbands and wives, with a primary focus on resilient women in the midst of challenging circumstances, with an emphasis on hope and the definition of home. 

The set-up features two women, Italian immigrant Mary (Leslie Wobbe) and Irish-American Genevieve (Jenni Ryan), telling of their attachment to New York City, and how they knew they belonged there. Then, the scene shifts to a cluttered trailer in Texas, as pregnant, transplanted New Yorker Liz (Maggie Lehman) has just arrived with her Texas-born husband, Dave (Mike DePope), and is regretting agreeing to this life-changing move, returning to Dave’s hometown as he has been offered his dream job teaching and coaching at his old high school. Liz, whose New York City roots run deep, has difficulty dealing with the shock of the change, and the way it seems to be affecting Dave, until suddenly, she finds herself in the presence of both of her grandmothers, paternal Grandma Mary and maternal Nana Genevieve. The biggest shock here for Liz is that both grandmothers are no longer living, so they are either ghosts or figments of Liz’s imagination. That aspect isn’t made entirely clear, but it doesn’t really matter, because the point is that the grandmothers are here to help Liz sort out her thoughts and emotions about the jarring change in her living situation, her relationship with Dave, and the anticipation of raising a child in an unfamiliar location. The story in Texas is intercut with flashbacks from the lives of both grandmothers, and how they dealt with various challenges and changes, both good and bad, in their own lives. It’s a compelling story full of fascinating characterizations and even a little bit of mystery, as the lives of these women unfold and we see how they relate to Liz’s situation. 

The dialogue is credible and well-paced, with a humorous tone much of the time and moments of poignancy at key times. The characters are well-defined, as well, and brought to life vividly by the strong cast. As Liz, Lehman projects a likable “everywoman” quality, with a believable degree of angst over her situation. DePope’s Dave is also amiable, showing good chemistry with Lehman and doing especially well with some of the more comic moments. Both Ryan and Wobbe are excellent as the grandmothers, differing in personality but both tenacious in their own ways, showing a playful contrast with one another and a palpable care for their granddaughter, and the flashback scenes are especially effective. There’s also a remarkable versatile performance from Ryan Burns displaying an excellent range both comic and dramatic as a variety of men in the grandmothers’ lives, from husbands to sons, to coworkers, and more. The interplay between the various characters forms much of the appeal of this play, and the energy and pacing are just right, from the more whimsical humor to the quieter dramatic moments. 

The technical setup is simple, but effective, with Leah McFall’s set providing the framework that suggests the trailer that Liz and Dave have moved into, with appropriate changes to cleanliness and order as the story progresses and the couple settles in. The characters are well-outfitted by costume designer Rebecca Bailey, as well–especially the grandmothers, whose wardrobe does much to suggest their personalities and style. The lighting, designed by Erin Thibodeaux, works well to set the mood and atmosphere, especially in the flashback sequences to set them apart from the present-day scenes; and there’s also excellent sound design by Jacob Baxley. 

Bandera, Texas is a promising first production from a promising playwright and an exciting new local theatre company. It’s a compelling look at how location, family, and personal history shape a person’s life, as well as showing how generations of women persevere through various trials. It’s mostly lighthearted, with some truly heartfelt moments of poignancy along the way. From New York to Texas to St. Louis, this play makes a memorable impression. 

Mike DePope, Maggie Lehman
Photo by Dan Steadman
Prism Theatre Company

Prism Theatre Company is presenting Bandera, Texas at the Kranzberg Arts Center until September 4, 2022

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