Posts Tagged ‘rachel tibbetts’

SATE and PPA Alumni Revisit “First Impressions” With Cleverly Staged Reading

Posted in St Louis Theatre, tagged , , , , , , , , on February 21, 2026| Leave a Comment »

First Impressions
An Adaptation of Pride and Prejudice by Jane Austen
Adapted by Ellie Schwetye
Directed by Ellie Schwetye & Rachel Tibbetts
PPA Alumni Theatre Company and SATE Ensemble Theatre
February 12, 2026

SATE and PPA Alumni Theatre Company recently offered audiences another impression of the award-winning Jane Austen-inspired work First Impressions at The Chapel, where SATE first debuted the show in 2017. Prison Performing Arts also staged a version at WERDCC in 2019, and video from both productions has been incorporated in the pre-show video for this latest version, billed as a “Fully Staged Reading Experience”. Although it was a reading, the staging was quite clever, and the use of actors live and on video contributed much in the way of humor and entertainment value. 

The premise is the same as before–an adaptation of Austen’s most famous novel Pride and Prejudice, interspersed with reflections from the cast about their experience with the novel and its various film adaptations. It’s been revised a fair amount since I saw the production in 2017, with more personal reflections and some more references to the 2005 filmed version of the novel. I was intrigued to note that several of the performers in this iteration stated that they hadn’t read the novel before working on this show, and so this production is their true “first impression”, although several others seemed to be longtime fans of Austen and the book, and issues discussed included favorite characters, comparisons of Mr. Darcy film actors, and the plot’s relevance for today. It’s a clever idea to adjust the reflections depending on the cast, which could work for future productions, as well.

The staging is crisp and lively, with fun use of the music stands used to hold the scripts the actors are reading from. The set by Bess Moynihan, who also designed the lighting, was whimsical and fun, featuring a video “portrait” in the middle of the performance area, featuring several cast members who recorded their performances in advance, including Patty Prewett as the imperious Lady Catherine DeBourgh, Hazel McIntire as scheming Caroline Bingley, Julie Antonic as Pemberley housekeeper Mrs. Reynold’s, and an especially fun turn by LaWanda Jackson and Janiece Moore giving running commentary and billed as “Statler & Waldorf”. Autumn Hales in a dual role as fourth Bennet sister Kitty and as Mr. Darcy’s younger sister, Georgiana The live cast was enthusiastic and memorable, as well, led by the excellent turns as Elizabeth Bennet and Mr. Darcy by real-life couple Alicen Kramer-Moser and Anthony Kramer-Moser. These two worked together well, exhibiting excellent stage presence and chemistry. There were also strong impressions made by Margeau Steinau and Eric Satterfield as Mr. and Mrs. Bennet, Hailey Medrano as the sweet eldest sister Jane Bennet, Miranda Jagels-Félix in a fun turn as middle Bennet daughter Mary, and Kristen Strom as the flighty, flirty Lydia. David Nonemaker as the somewhat silly Mr. Collins, Andre Eslamian in a dual role as the kind Mr. Bingley and rakish Mr. Wickham, and Victoria Thomas as Elizabeth’s practical-minded friend Charlotte Lucas also contributed much to the wit, humor, and fun of the production.

The rest of the technical elements were also strong, with notable distinction going to Brian Dooley and David Nonemaker for their excellent videography, and Dooley and Eric Satterfield for their video editing and projection design. The costumes by Tyler White and Kayla Lindsay featured a clever blend of Regency-era influence and modern style, and Ellie Schwetye’s sound design was also strong.

This show was, and continues to be, a fitting tribute to Austen’s classic novel and its fans over the generations. It’s a lively, versatile adaptation that works well in various formats, and I can easily imagine more iterations of it in various venues in the future. The only notable drawback to this production was that it only ran for one weekend, so more people didn’t get the chance to enjoy it. 

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SATE Takes the Audience on a Fun “Classic Aventure” With Much Energy and Nostalgic Style

Posted in St Louis Theatre, tagged , , , , , , , on September 17, 2025| Leave a Comment »

Classic Adventure Movie: Or Never Say Die
Written by Keating
Based on a Concept by Rachel Tibbetts, Keating, and Cassidy Flynn
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 12, 2025

Keating, Ricki Franklin, Cassidy Flynn, Ashwini Arora
Photo by Joey Rumpell
SATE Ensemble Theatre

Remember The Goonies? Maybe you do, and maybe you don’t, but it’s clear that Richard Donner’s 1985 film–with a script by Chris Columbus based on a story by Steven Spielberg–has become a modern classic, especially for Gen X and the Millennial generation. With a cast made up of performers of various ages and experiences, SATE explores the story of the movie in its own madcap way, while also–in a style reminiscent of their earlier show First Impressions–allowing moments for the cast members to reflect on the “classic adventure movies” that shaped their own lives. The end result–Classic Adventure Movie: Or Never Say Die–is full of action, humor, reflection, enthusiasm, nostalgia, and ultimately a whole lot of fun.

What’s especially fun about this show is that, even if you haven’t seen the film or if, like me, you haven’t seen it since it first came out in theatres, you’ll probably still be able to follow this show fairly easily. The Goonies story is told, essentially, but with revisions and references to other films and stories, with occasional nostalgic breaks as the cast members tell of the films that shaped their lives, from more obvious selections like E.T. The Extra-Terrestrial to perhaps more surprising fare like Under the Tuscan Sun, and covering many decades of cinematic history, with a high concentration on movies from the 1990s and early 2000s. 

The adventure theme is present throughout, as the “Goonies”–an “outcast” group of kids and teens in their small Oregon town–find a treasure map apparently made by a long-lost pirate called One-Eyed Willy. The kids, led by Mikey (Ricki Franklin), Mouth (Cassidy Flynn), Chunk (Keating) and Data (Ashwini Arora) go on a quest to find the map with the hopes that the treasure will help them save their homes, which are slated to be demolished in order to build a Top Golf. Soon, the group finds themselves at odds with the criminal Fratelli family–brothers Jake (Anthony Kramer-Moser) and Francis (Victor Mendez) and their bossy Mama (LaWanda Jackson), who hope to find the treasure for themselves. They also are eventually joined by Mikey’s older brother Brand (Carl Overly, Jr.), Brand’s cheerleader crush Andy (Hailey Medrano), and Andy’s best friend Steph (Marcy Wiegert), along with appearances by fellow cheerleaders Barb (Katie Donnelly) and Lizzie (Courtney Bailey) and superstar pop singer Cyndi Lauper (Frankie Ferrari), who gets to play a much bigger part in this show than the cameo appearance she had in the film. 

There’s a lot going on here, with fun moments of humor and pop-culture references, and especially strong ensemble chemistry with no weak links in the cast. The four main Goonies are standouts, with some excellent moments from everyone else as well, and Ferrari seemingly having a blast playing Lauper and getting to lead the cast in an energetic rendition of one of Lauper’s hit songs. The nostalgia moments are fun, as well, exploring the very real way film has come to shape the lives of so many throughout the generations, and how “adventure” can mean different things to different people. 

The performance space at The Chapel has been used to maximum benefit by means of Erik Kuhn’s imaginative and detailed set, decorated with movie posters and nostalgic artifacts. Also noteworthy are Katie Leemon’s memorable props, the marvelous lighting by by Denisse Chavez and excellent sound by Ellie Schwetye that helps keep up the overall nostalgic and adventurous tone of the show. Liz Henning’s costumes are also excellent, adding a lot of nostalgic fun to the story and suiting the characters and overall tone especially well.

This is another hit from SATE. This company is great at what it does, with a quirkier take on theatre that also highlights creativity, imagination, intelligence, and heart. With a clever script by Keating, fast-paced direction by Rachel Tibbetts, and a first-rate cast who all seem to be having a fantastic time, this is a show that entertains with a lot of energy and charm. It’s a real adventure of a comedy, with loads of nostalgic charm and style. 

Cast of Classic Adventure Movie: Or Never Say Die
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting Classic Adventure Movie: Or Never Say Die at The Chapel until September 27, 2025

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Chorus of Fools Does a “Double Take” of Promising New Plays

Posted in St Louis Theatre, tagged , , , , , , , , , , on February 6, 2025| Leave a Comment »

Double Take
Chorus of Fools
January 30, 2025

On of the newer theater companies in St. Louis, Chorus of Fools, recently presented a duo of new plays by local playwrights at Greenfinch Theater & Dive. Called by the collective name Double Take, the two one-acts each featured the work of strong casts and talented local playwrights. Both are comedies, but with a touch of drama added in, covering topics from the conspiratorial to the controversial, but focusing on the human experience and vulnerabilities of their characters.  Here are some thoughts on each play:

 

The Bigfoot Diaries
by Eric Satterfield
Directed by e.k. doolin

Xander Huber, Moira Healy
Photo by David Nonemaker
Chorus of Fools

Bigfoot is big business in a small North Carolina town, especially during their annual Bigfoot Days Festival. This play, framed as a podcast episode narrated by local journalist Harper (Irene Cornett) is essentially an examination of insecurity, manipulation, and obsession, and how these affect the town and especially the life of one young man who runs a Bigfoot themed tourist shop.

Marty (Xander Huber) doesn’t really believe in Bigfoot, but he’s been obsessed with the story of the creature his whole life nonetheless. As the town’s sheriff, Ruby Lee (Nikki Plato) investigates a recent incident in the woods in which a local teen, Daniel (Zach Pierson) was injured, Harper seeks to interview Marty for a story in the local paper. Meanwhile, Marty struggles with his own insecurities concerning his past as well as his burgeoning relationship with Cassie (Moira Healy), who works at his store. Soon, we learn that there’s more to the developing mystery than meets the eye, and some characters may not be as innocent as they seem.

This is an engaging play with a fun sense of humor and an intriguing premise, especially in its focus on Marty and his relationships, although the story seems a bit rushed as it begins to wind down, and the ending seems a little too easy. Huber is excellent and sympathetic as Marty, though, and the characters are well drawn, for the most part. There are strong performances all around, and Huber’s chemistry with Healy’s likable Cassie is a highlight. The technical aspects of this show are well done, with memorable costumes by LaWanda Jackson and Hazel McIntire, and fun props by Vickie Delmas, with strong lighting by Erik Kuhn, and excellent sound and projections by Eric Satterfield. 

The Pavement Kingdom: A Clinic Escort Play
by Courtney Bailey
Directed by Rachel Tibbetts

Marcy Wiegert
Photo by David Nonemaker
Chorus of Fools

This play, by the imaginative Courtney Bailey, is something of a stand-up routine with a story, featuring a tour-de-force performance by Marcy Wiegert as Charon, who tells her eventful story while on duty as an escort at an abortion clinic. 

At first, I wasn’t sure if this was really going to be much of a play, considering it spends a good amount of time as essentially an excuse for Charon to tell jokes. This part of the play could possibly stand being trimmed a bit, but it does eventually lead somewhere, as Charon’s presentations about comic “bits” eventually turn into an emotional personal story, as well as a kind of object lesson in empathy. The structure makes sense for Charon’s guarded-but-ultimately-vulnerable character, although I do wonder if the first part could be condensed a bit. 

Wiegert is fantastic as Charon, with excellent comic timing and a snarky but engaging personality, as well as a strong dramatic ability when it is needed, especially as the story finally veers more out of “stand up” territory and gets more personal. The character’s journey is at the heart of the story, and Wiegert plays it well. The costumers and props designers deserve kudos here, as well, with Charon’s colorful outfit and props adding to the overall mood and attitude of the story. 

Overall,  Double Take has served as an intriguing showcase for two local playwrights and some fantastic local performers, fitting well into the Greenfinch space and supported by an enthusiastic audience. It’s a memorable theatrical endeavor for this theater company.

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PPA Alumni Reflect, Ponder, and Educate in Engaging “As Told by Us”

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

As Told By Us
PPA Alumni Theatre Company
November 17, 2024

PPA Alumni Theatre Company recently came to Greenfinch Theater & Dive to tell their stories in the form of two intriguing and engaging one-act plays reflecting personal relationships and experiences. It was an entertaining and sometimes educational mix of comedy and drama, featuring some memorable performances.  Here are some brief thoughts:

“Go Before I Do”
by Hazel McIntire
Directed by Eric Satterfield

Katie Leemon
Photo by RayBay Creates
PPA Alumni Theatre Company

In this story, Katie Leemon as the bartender gives the audience thoughts about life and drink recipes before a Daughter (Jocelyn Padilla) and Father (David Nonemaker) enter the bar and engage in occasionally tense conversation about their views of life, relationships, city vs. small town living, and more. It’s an intriguing relationship, with the idea being that the daughter doesn’t necessarily realize what she can learn from her father until it may be too late, although the story is a bit talky.

All three players turn in engaging performances with Leemon’s Bartender being the obvious standout. The staging is simple, with a fairly basic set featuring the bar and a table and chairs that serve the story well, and good work from lighting and set designer Bess Moynihan in establishing and maintaining the mood of the production.

 

“Don’t Be a Hero, Thank You”
by Katie Leemon
Directed by Rachel Tibbetts

LaWanda Jackson
Photo by RayBay Creates
PPA Alumni Theatre Company

This play was the highlight of the production for me, dealing with the complex topic of re-entry into the outside world after release from prison with humor and occasional poignancy, and featuring a thoroughly winning performance by LaWanda Jackson as Kate, who is adjusting to her new life and reflecting on her time while incarcerated. There’s also fun use of projections by Eric Satterfield to illustrate Kate’s points that cover topics of maintaining friendships, dating, getting used to life on the “outside” and more. There’s fun recurring segment about “How to Make a Prison Christmas Tree” that runs throughout the play, as well. 

Jackson is excellent, plain and simple, with the right blend of comic timing and credibility in the more serious moments. There’s also a strong turn from Kristen Strom in a variety or roles, including one of Kate’s best friends from prison, Sara, who is struggling with her own unique issues after getting out. This is an engaging and educational show with a strong sense of pacing and excellent use of the set and props. It’s an enlightening look at the experience of incarceration for those who haven’t experienced it, and I imagine it would be especially relatable for those who have. 

Overall, As Told By Us was an engaging, memorable theatrical experience featuring memorable themes and performances, and working especially well at the Greenfinch venue. It offers insights into aspects of the human experience that not everyone may have lived, but that are important to know for purposes of empathy and understanding. 

 

 

 

 

 

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SATE’s “Tempest in a Teapot” is a Whimsical, Fascinating Emotional and Literary Journey

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 2, 2024| 1 Comment »

Tempest in a Teapot
By Shualee Cook
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 26, 2024

Chrissie Watkins and Cast
Photo by Joey Rumpell
SATE Ensemble Theatre

If you love Shakespeare and the works of Lewis Carroll, then SATE’s latest show is for you! Even if you’re not a huge fan of one or both these writers, however, there’s a lot to learn in this world premiere performance of local playwright Shualee Cook’s Tempest in a Teapot. It does help to be familiar with the source material to some degree, but still this is a fascinating, character-driven look at growing up, self-discovery, and how lives can be affected by others’ opinions and actions in expected and unexpected ways. 

The story here blends history and fantasy, as Alice Liddell (Chrissie Watkins) lives in Victorian-era Oxford and, as she is reaching young adulthood, has to grapple with the expectations of society and her professor father (Adam Flores), who expects her to marry well and settle down, while Alice isn’t sure what she wants to do. Enter Reverend Charles Dodgson, otherwise known as Lewis Carroll (John Wolbers), who visits after a long absence, making Alice have to reckon with her past as the inspiration for Carroll’s Alice in Wonderland books. As Alice is trying to make sense of her life, she is visited by the Cheshire Cat (Kay Ailee Bush), who coaxes her back to Wonderland, where the Mad Hatter (Flores), the March Hare (Keating), and the Dormouse (Summer Baer) await. Since Carroll had recently recommended that Alice read Shakespeare’s The Tempest, the Wonderland residents decide to read the play and act it out, casting Alice as Miranda–although she also ends up playing other roles, as well as featuring in flashback sequences about her own life. Carroll becomes Prospero, with the others playing a variety of roles as Alice is forced to confront her feelings about being Carroll’s “muse”, as well as trying to figure out who she is amid the expectations of the society in which she lives, along with her own family. What ensues is a cleverly constructed mashup of the Wonderland stories, The Tempest, and the intersecting lives of Alice and Lewis Carroll, with a good deal of humor and emotional reflection along the way.

As mixed up as the story may seem, and considering my Alice in Wonderland knowledge comes mostly from film adaptations, I found this story surprisingly easy to follow. It helped to read the Wikipedia pages for Alice Liddell and Lewis Carroll at intermission, but generally, this was a fairly straightforward “coming of age” tale couched in whimsy and fantasy, with vivid characterization and a strong, enthusiastic cast, led by the truly fantastic performances of Watkins and Wolbers, who portrayed a believable relationship and credibly complex characters. The rest of the cast is also strong, with energetic turns from Keating, Baer, and Flores, and an added air of confrontation and mystery from Bush. All of the players work especially well together, emphasizing the concept of “ensemble” as SATE constituently does so expertly.

The look and style of this piece is also memorable, with a versatile set design by Bess Moynihan and Ellie Schwetye that fits well in the Chapel performance space. There are also especially clever costumes by Liz Henning and Kayla Lindsay that add to the overall whimsicality of the proceedings and characterizations. Moynihan’s lighting and Schwetye’s sound design also contribute ably to the overall vibe of the show, as do the  props by Cecile “Cece” Entz and Katherine Leemon.

My only major regret about this production is that the show isn’t still running, because I would be telling everyone with even a mild interest in the subject matter to see this play. Tempest in a Teapot takes a clever concept and gives it life by means of a strong cast and vibrant staging. It’s another fun and thoughtful show from SATE.

Chrissie Watkins, John Wolbers
Photo by Joey Rumpell
SATE Ensemble Theatre

Conclusion–I regret that I wasn’t able to get this review out before the show closed.

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ERA’s “Never Let Go” is a Well-Paced, Memorable Showcase

Posted in St Louis Theatre, tagged , , , , , , , , on December 15, 2023| Leave a Comment »

Never Let Go: A One Woman Titanic
by Lucy Cashion and Will Bonfiglio
Directed by Lucy Cashion
Equally Represented Arts (ERA)
December 8, 2023

Rachel Tibbetts
Photo by Jason Hackett
Equally Represented Arts (ERA)

No matter what you think of the movie itself, there’s no question that James Cameron’s 1997 movie Titanic has become a cultural icon. The subject of many discussions, debates, and memes, and spawning the Oscar winning earworm of a song “My Heart Will Go On”, the film has ingrained itself into America’s pop-culture psyche. Equally Represented Arts (ERA) and playwrights Lucy Cashion and Will Bonfiglio have capitalized on that ubiquity with the brisk and cleverly staged Never Let Go: A One Woman Titanic. Showcasing the talents of excellent local performer Rachel Tibbetts, supported by the equally talented Bonfiglio, this show packs a lot into it’s not quite one hour running time.

ERA staged this show in 2019, but I was unable to see it then. Now it’s back, and I’m glad I’ve been able to witness this hilarious, clever, and occasionally surprisingly poignant production. The premise follows Titanic protagonist Rose (Tibbetts) 24 years after surviving the sinking of the ill-fated ocean liner. Now, Rose is an actress, still pining after her long-lost love, Jack, and remembering her few days on the Titanic so vividly that she’s convinced it will make a great film, which she is now pitching to producers. As Rose acts out her vision and reflects on her experiences during and after the infamous disaster, she also makes some meta observations about the phenomenon of Cameron’s film, including some searing and on-point critiques of the script. It’s a fun, sometimes frantic staging, supported by Bonfiglio as the “Stage Manager” who decorates the stage, provides props as needed, and assists the insistent Rose in whatever ways she dictates.

The staging is fast-paced, and Tibbetts is a force as Rose, commanding the stage with attitude and energy, with Bonfiglio matching her energy in a mostly wordless performance moving props and set pieces around and sometimes even serving as a prop when needed, and also playing a few occasional roles–most notably a violin-playing iceberg. The tone is mostly comic, but the pair manage to bring out a degree of poignancy when re-enacting certain dramatic moments late in the film. Kudos to technical director Jimmy Bernatowicz, as well as lighting designer Denisse Chavez, and costume designer and props master Megan Fisher for their excellent contributions to the overall atmosphere of the production.

Never Let Go is a compelling experience, featuring great performances, and also a lively warm-up act by standup comic and local actor Paul Cereghino at most performances. It’s Titanic like you’ve never seen it before, and if you’ve seen the film, it will probably spark memories. It’s another inventive, thought-provoking production from ERA.

Will Bonfiglio, Rachel Tibbetts
Photo by Jason Hackett
Equally Represented Arts (ERA)

Equally Represented Arts (ERA) is presenting Never Let Go: A One Woman Titanic at the Kranzberg Arts Center until December 16, 2023

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PPA Alumni Spin a Unique, Imaginative “Golden Record”

Posted in St Louis Theatre, tagged , , , , , , , on January 28, 2023| Leave a Comment »

The Golden Record
Adapted and Curated by Courtney Bailey
Directed by Rachel Tibbetts
Prison Performing Arts Alumni Theatre Company
January 26, 2023

Eric Satterfield, Summer Baer, LaWanda Jackson
Photo by Ray Bay Creates
Prison Performing Arts

Prison Performing Arts Alumni Theatre Company is putting on a unique, intriguing show at The Chapel. Taking inspiration from a NASA program, the company and playwright/performer Courtney Bailey have presented a highly personal work that provides insight into the work of PPA and the people who have been involved with it over the past several years. It’s a thoughtful ride through time, space, and memory, with a ukulele playing chicken along for the ride. 

This is essentially a retrospective, and audience members who are more familiar with PPA and its past works will probably understand it more than others, but there are a lot of intriguing, insightful moments here which provide a look into the lives of the PPA participants and their experiences. As this is a charity that works in prisons, the participants are able to share their experiences of being incarcerated, as well as readjusting to society after prison. It also serves as remembrance and tribute to several PPA members (listed in the program) who have passed away. It’s a time capsule-like document, curated and arranged by Bailey and featuring the work of several PPA participants and past productions including Antigone and First Impressions, starring a mixture of PPA alumni and professional actors. 

The story here, inspired by a pair of “Golden Records” included by NASA in the Voyager space probes in the 1970s, follows two Travelers (Eric Satterfield and LaWanda Jackson), accompanied by a cheerful chicken named Filberta (Summer Baer), who are traveling from their planet to an unknown destination. Through the course of the story, the Travelers listen to recordings and watch videos as reminders of life on their old planet, and the people they’ve left behind. They also participate in a series of repeating rituals, such as a recited “catechism” and a visit from a rogue satellite from the planet Antigone (operated by Bailey, voiced by Autumn Hales). There’s also a succession of New Year’s celebrations that seem to get closer and closer together as the Travelers lose track of time and the past becomes more and more of a distant memory. The rest of the cast appears throughout in a series of vignettes as the “transmissions” are played, and the Travelers get further and further away from their old home try to hold on to the hope of reaching their intended destination. 

The whole company is memorable, led by Satterfield and Jackson in emotional and relatable performances as the Travelers, and Baer as the devoted Filberta. The entire cast contributes memorable moments, ranging from humorous situations to poignant and heartfelt reflections. The cohesive ensemble–some appearing onstage, some on film, and others as recorded voices–includes David Nonemaker, Larry Butler, Bailey, Katie Leemon, Tyler White, Julie Antonic, Scott Brown (understudied by Bailey on opening night), Hazel McIntire, Autumn Hales, Sandra Dallas, Patty Prewitt, Dylan Staudie, and Tessa Van Vlerah. 

The simple but effective set and atmospheric lighting by Erik Kuhn contribute much to the science fiction-like mood of the show, as do Liz Henning’s costumes. There’s also highly effective use of projections designed by Michael Musgrave-Perkins, and video editing by Satterfield. Ellie Schwetye’s sound design also contributes to the overall dreamlike atmosphere of the production. 

Overall, I would say The Golden Record works well as a retrospective, especially for those who are familiar to some degree with the work of PPA. It’s an inventive reflection on identity, the passage of time, relationships, processing grief, a sense of uncertainty blended with hope for the future, and more. It’s a whimsical flight of fancy, a melancholy reflection, and an archive of past performances rolled into one imaginative package. 

Courtney Bailey, Eric Satterfield
Photo by Ray Bay Creates
Prison Performing Arts

Prison Performing Arts Alumni Theatre Company is presenting The Golden Record at The Chapel until January 29, 2023

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Midnight’s “Tinsel Town” Takes an Entertaining Trip to Hollywood

Posted in St Louis Theatre, tagged , , , , , , on December 7, 2021| Leave a Comment »

Tinsel Town
by Joe Hanrahan
Directed by Rachel Tibbetts
The Midnight Company
December 2, 2021

Joe Hanrahan, Ellie Schwetye
Photo by Joey Rumpell
The Midnight Company

Los Angeles, California is like no other place on earth, both in its near-synonymous association with the entertainment business and with a specific form of quirkiness. The Midnight Company’s latest production, Tinsel Town, is a suite of interconnected short plays that highlight the unique aspects of this area and with entertainment culture in the age of the pandemic. Showcasing two excellent performers, the show is a fun, alternately hilarious, critical, and insightful look at showbiz personalities and the town in which they live, work, struggle and thrive.

The show is three plays in one, with its two performers, Joe Hanrahan and Ellie Schwetye, each playing a different role each time, although the stories are connected in that they are set in the same “world” representing a day in L.A. and various aspects of the entertainment industry, and through Schwetye’s three characters, who each mention the others and who are working on a film project together. Even with these connections, though, the plays vary sharply in tone, from the broad comedy of the first segment: “Late Lunch on Melrose 1:30pm”; to the more humor-tinged drama of the second segment: “Just Off Sunset 12:15am”; and finally to more lighthearted comedy with the third segment “Shoot in Santa Monica 12:40pm”. Each looks at “the business” from a different angle, highlighting both positive and negative aspects of the L.A. and showbiz life, particularly in the movie and music industries. The plays also all deal with artists experiencing various transitions in their careers, as Schwetye’s demanding movie star Beverly Montclair deals with maybe not being considered “A-list” anymore, and getting offered different roles than she’s used to by her longtime agent Bobby Daniels (Hanrahan) in the first segment; veteran singer Teenah Davis (Schwetye), who is trying to restart her career with a new band after some struggles, has a potentially fortuitous meeting with also struggling longtime session guitarist Hank Riley (Hanrahan) in an alley behind a club after a show in the second segment; and longtime British stage actor Richard Hoffman (Hanrahan) deals with nerves and cultural adjustment issues as he works on his first Hollywood film shoot–for a sci-fi epic featuring villainous “space vampires”–with aspiring director Susan Dmitri (Schwetye) in the third segment.

The performers here adjust impressively to the shifts in tone between the pieces, with both–and especially Schwetye–gleefully hamming it up in the hilariously over-the-top first act, as Hanrahan’s fun script cleverly skewers the stereotypical “Hollywood” atmosphere and demonstrating the versatility of the word “darling”. Both performers also find much poignancy in the melancholy but hopeful second segment, and then deftly return to a slightly more gentle brand of comedy in the third vignette, as Hanrahan’s examination of the L.A. life trends back to the goofy side, but still maintaining a sense of hope. It’s a fun show, overall, showing off the considerable talents of its two leads, as well as their versatility and sense of timing.

The L.A. atmosphere and “Hollywood” vibe are well-maintained throughout by use of excellent mood-setting music in the interludes between shows, and by Erik Kuhn’s excellent lighting and minimalist set, as well as top-notch video design by Michael Musgrave-Perkins. The costumes by Elizabeth Henning are also impressive, and suit the characters especially well. Overall, this is a well-paced, superbly cast, especially memorable look at a day in the life of one of the more celebrated–and parodied–cities in the United States, and in the world. 

Ellie Schwetye, Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting Tinsel Town at the .Zack Theatre until December 18, 2021

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“First Impressions” Makes a Strong Impression at SATE

Posted in St Louis Theatre, tagged , , , , , , , , on May 20, 2017| Leave a Comment »

First Impressions
Adapted from Jane Austen’s Pride and Prejudice
Conceived by Rachel Tibbetts and Ellie Schwetye
Directed by Rachel Tibbetts
SATE Ensemble Theatre
May 17, 2017

John Wolbers, Ellie Schwetye
Photo by Joey Rumpell
SATE Ensemble Theatre

 I’m a Jane Austen fan. I’ve read her books, seen various filmed adaptations, and like a lot of Austen fans, Pride and Prejudice is my favorite of her novels. Also like a lot of Austen fans, I have a lot of strong opinions about the story and its adaptations. Austen seems to inspire a lot of strong emotions about her works, and that trait is represented well in SATE Ensemble Theatre’s latest production, First Impressions, which tells the story of Pride and Prejudice in a dynamic way while also telling the stories of many of its readers.

The basic story of Pride and Prejudice is well-known by many, whether they’ve read the book or seen many of the various filmed and staged adaptations. Here, with First Impressions, adapters Rachel Tibbetts and Ellie Schwetye have given the story the SATE treatment, presenting the story in a somewhat straightforward way in one sense, but opening it up in another sense, in terms of framing, staging, and casting. Here, various testimonials of of people’s “first impressions” of the story are interspersed with the story. All the familiar characters are here, as Elizabeth Bennet (Schwetye) meets Mr. Darcy (John Wolbers) and the romantic and family drama and comedy unfolds. Elizabeth and her sisters Jane (Cara Barresi), Mary (Parvuna Sulamain), Kitty (Jazmine K. Wade), and Lydia (Katy Keating) live with their parents, the marriage-obsessed Mrs. Bennet (Nicole Angeli) and the somewhat world-weary Mr. Bennet (Carl Overly, Jr.). When the handsome, eligible Mr. Bingley (Michael Cassidy Flynn) moves into a nearby estate, the story is in motion, following Elizabeth as she learns more about the mysterious Mr. Darcy and about the world around her, populated by characters like the sycophantic Mr. Collins (Andrew Kuhlmann), the dashing but caddish Mr. Wickham (also Flynn), and the imperious Lady Catherine DeBourgh (also Angeli).  The story is narrated by Mary, and as the action unfolds, it’s often interspersed with the “first impression” stories that provide commentary not just on the story itself, but on its place in history, its appeal to people from all ages and cultural backgrounds, and also occasional critique of Austen’s perspective and her era.

It’s a fast-paced, fascinating, riveting presentation, full of motion and emotion, with characterizations that are at once true to the spirit of the book and strikingly modern. The fact that some performers play more than one role also provides interest in the form of contrast, such as Angeli’s portrayal of the meddling Mrs. Bennet, the imposing Lady Catherine DeBourgh, and the personable Aunt Gardiner. Angeli is particularly notable for portraying a Mrs. Bennet who doesn’t come across as a caricature or a cartoon as she can in some filmed adaptations. Yes, she can be silly, but Angeli provides some substance behind the silliness, and there’s a degree of affection between Angeli and Overly’s Mr. Bennet that adds a level of depth to their relationship. Sulamain’s portrayal of Mary is similarly refreshing, making the middle Bennet sister appear more thoughtful than sanctimonious. The other Bennet sisters are also strong in their characterization, from Barresi’s reserved but gentle Jane, to Wade’s excitable Kitty, to Keating’s brash, outspoken Lydia.  Flynn is excellent as both the generous, lovestruck Bingley and the charismatic but unprincipled Wickham. Kristen Strom gives another strong contrasting performance as two distinctly different sisters–the haughty Caroline Bingley, and the more humble, kindly Georgiana Darcy. Rachel Hanks is memorable as a particularly enthusiastic incarnation of Mr. Darcy’s housekeeper, Mrs. Reynolds, and also as Elizabeth’s practically-minded best friend, Charlotte Lucas, who ends up marrying the Bennets’ silly cousin, Mr. Collins, who is portrayed with a gleeful, almost morbid intensity by Andrew Kuhlman. And last but not least are Schwetye in an engaging, determined portrayal of Elizabeth and Wolbers as Mr. Darcy, giving him a more reserved and occasionally witty portrayal. The chemistry between Schwetye and Wolbers is strong, as is the chemistry among the sisters, and the staging lends to the characterization, and the sisters are often seen gathering to eavesdrop on their sisters’ conversations.

It’s a fresh, timely staging that brings out a lot of the story’s humor as well as examining its seemingly universal appeal. The set and lighting by Bess Moynihan contribute a great deal to the tone of the show. The big white tent and and minimal furnishings add to the always-in-motion quality of the play, and Elizabeth Henning’s costumes are especially impressive, featuring a blend of period details and modern flair, from Wickham’s leather jacket and pants to the colorful dresses of the Bennet sisters, and more, this is a production that celebrates the classic elements and the timeless quality of this show. There’s excellent sound design by Schwetye as well, and the use of music–mostly modern pop music rearranged as chamber music–works extremely well, especially in the wonderful Netherfield Ball sequence.

This is a fun show as well as a thought-provoking one. References to Colin Firth and Laurence Olivier are thrown in along with comments on women’s roles, the affluence of the characters, and more. A frequent theme that comes up in the testimonials is how the story can mean different things to the same person depending on when they read it.  Pride and Prejudice is a story that means a lot to many people, and although opinions can greatly vary, it’s a story that’s clearly made an impact over the generations. SATE Ensemble Theatre has presented this story well, as well as examining it, somewhat deconstructing it, challenging it, and celebrating it. Like so many of the shows SATE does, this show takes a unique approach, and it provides for a singular theatrical experience.

John Wolbers, Katy Keating, Nicole Angeli, Andrew Kuhlman, Jazmine K. Wade, Parvuna Sulaiman, Carl Overly, Jr.
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting First Impressions at the Chapel until May 27, 2017

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A “Monster” Success For SATE

Posted in St Louis Theatre, Uncategorized, tagged , , , , , , , , , on August 23, 2014| Leave a Comment »

Mary Shelley Monster Show

by Nick Otten

Based on a Concept by Ellie Schwetye and Rachel Tibbetts

Directed by Kelley Weber

Slightly Askew Theatre Ensemble

August 20, 2014

Ellie Schwetye (in silhouette), Rachel Tibbetts Photo by Joey Rumpell Slightly Askew Theatre Ensemble

Ellie Schwetye (in silhouette), Rachel Tibbetts
Photo by Joey Rumpell
Slightly Askew Theatre Ensemble

Slightly Askew Theatre Ensemble (SATE) is closing out its year-long “Season of the Monster” with a brand new show that revolves, partly, around one of the most iconic monster stories ever.  Mary Shelley Monster Show even opens with a montage of projections of various versions of the infamous monster that’s at the heart of Shelley’s most famous work, Frankenstein. This story, though, is about much more than Frankenstein. In this innovative, technically stunning  production, SATE brings Mary Shelley and her world to life in an entertaining and thoroughly riveting manner.

The play is short but extremely contemplative, and it’s never boring.  As Mary (Rachel Tibbetts) poses for her most well-known portrait by painter Richard Rothwell (the offstage voice of Carl Overly, Jr.), she recalls the important moments of her life and the people-both real and imaginary–that inhabited it.  These characters, from the monster himself to such real-life figures as Mary’s poet husband Percy Bysshe Shelley, her mother Mary Wollstonecraft, her father William Godwin, the illustrious poet Lord Byron and others, are all played by Ellie Schwetye. Through Mary’s recollections, reenactments, and an abundance of projections, we are given a glimpse into Mary’s mind as she recalls historic moments in her life, and her various relationships with those who have been most important to her.  We also see her relationship with her work, represented by her various philosophical discussions with the shadowy figure of the monster, who gradually evolves throughout the course of the show and challenges Mary to think about her relationship, as a writer, with her creation. It’s an exploration of one woman’s life and also the lives of famous literary figures and of one work in particular and how that work has survived its creator and even eclipsed her in notoriety, reflected in the play as Mary tells the monster–who questions his reality–that a creation often becomes more “real” than its creator.

What’s real here is the sheer wonder of this production, both technically and in its performances. Tibbetts gives a reflective, confident performance as Mary, portraying her various stages of life and conflicting emotions with veracity and depth.  From her regrets over the deaths of loved ones, to her deep love and near-worship of her dynamic husband, to her verbal sparring with the charismatic Byron, Tibbetts is thoroughly affecting.  Schwetye also impresses in at least nine different roles, portraying this wide range of characters clearly with, for the most part, only minimal changes in costume.  She is particularly effective as the self-confident Byron, as the reassuring ghostly figure of Mary’s late mother, as Mary’s emotional step-sister “Claire”, and especially as the increasingly confrontational monster.  Schwetye makes the transitions between the various characters seem effortless, and the chemistry between her (in her various incarnations) and Tibbetts is excellent.  Lending support to these two dynamic actresses is Overly, who never actually appears onstage but manages to make an impression with his voice, as the painter who serves as something of a catalyst and sounding board for Mary’s reflections.

Technically, this show is nothing short of marvelous. With a striking set by David Blake, along with Bess Moynihan’s atmospheric lighting, Michael B. Perkins’s abundant and colorful projections, Elizabeth Henning’s costumes and Schwetye’s sound design, this production strikes and maintains just the right mood.  It’s haunting, reflective and educational all at the same time. This team has managed to use the somewhat limited space in the small Chapel venue to its best advantage, taking the audience on a trip into Mary Shelley’s world and into her very thoughts.  This is  great example of a show in which the technical elements add to the drama of the production rather than dominating or distracting from it. It’s  a highly commendable effort from all involved.

This is a unique and fascinating play that educates as it entertains, as well as providing a basis for thoughtful discussions on the nature of writing and of an artist’s relationship to her craft. It’s another triumph for the collective creative talents of SATE. Over the past few years, this small, unpretentious theatre company has consistently turned out some of the most exciting,intriguing productions in St. Louis. I’m constantly impressed at how much the team at SATE continues to grow and stretch their limits as a company, continually trying to challenge expectations and then rising to the challenge. It’s companies like this that help make the St. Louis theatre scene great. Mary Shelley Monster Show is the latest, and quite possibly the greatest, of SATE’s many successes.  I look forward to seeing what their next season brings.

Rachel Tibbetts, Ellie Schwetye Photo by Joey Rumpell Slightly Askew Theatre Ensemble

Rachel Tibbetts, Ellie Schwetye
Photo by Joey Rumpell
Slightly Askew Theatre Ensemble

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