Posts Tagged ‘rebekah scallet’

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

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

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

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

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

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

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

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

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

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

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

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

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

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The Rep’s “Roommate” is a Well-Cast Character Study With Intriguing Issues to Ponder

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

The Roommate
by Jen Silverman
Directed by Rebekah Scallet
Repertory Theatre of St. Louis–Steve Woolf Studio Series
October 25, 2024

Kelley Weber, Nancy Bell
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep’s Steve Woolf Studio Series is back in its familiar location with a production of Jen Silverman’s fascinating two-character dramedy The Roommate. Starting off as somewhat of an Odd Couple-type tale of two roommates with contrasting personalties, the story evolves into an examination of societal expectations, self-expression, and more. At the Rep, as directed by Rebekah Scallet, this is a superbly cast show featuring two excellent local performers, as well as featuring especially impressive production values.

The story is set in Iowa, in a modest, cozily decorated house owned by the somewhat socially awkward Sharon (Kelley Weber), who has recently gone through a divorce and has lived something of a sheltered life in the Midwest. Feeling lonely, Sharon has advertised for a roommate, who turns out to be Robyn (Nancy Bell), a more worldly-wise former denizen of the Bronx, New York, who gives the sense that she’s trying to start a new life in a completely new place. Sharon meets Robyn with a mixture of trepidation and excitement, as Robyn is so different from everyone else she knows–vegan, gay, city-raised and into growing “medicinal herbs”,  while Sharon herself hasn’t experienced much outside of what’s been expected of her. As the two get to know one another, they form a friendship and it becomes clear that both have regrets and secrets, with their lives being changed in various ways that may or may not be healthy or legal. 

This is a fascinating study of contrasting characters and their influence on one another, as well as exploring the effects–both positive and potentially negative–of one woman who has been used to a life with few attachments and restrictions suddenly coming into the life of someone who has spent her life being told “no” either directly or indirectly. The interplay between the characters is what makes the story, and the actors are fantastic, with Weber’s initially reticent but increasingly enthusiastic Sharon and Bell’s more experienced but secretive Robyn working especially well together, with strong chemistry and a believable growing bond as well as credible degree of tension. Both performers have strong presence, excellent comic timing (especially Weber), and impressive emotional range. These characters are the show, essentially, the performance make the show immensely engaging.

The world of these two characters is well-realized by means of Robert Mark Morgan’s stunningly realistic set. It seems like the audience is sharing the home with the roommates, adding a level of engagement to the already intriguing story. Lou Bird’s costumes suit the characters well, with both Sharon and Robyn having an array of outfits that reflect their personalities as the story develops. There’s also excellent work from lighting designer Jayson M. Lawshee and sound designer Kareem Deanes, bringing the small-town Iowa location and atmosphere to life.

The Roommate represents a welcome return for the Steve Woolf Studio Series at the Rep. It’s a story that covers a lot of issues, and will give audiences much to think and talk about in terms of relationships with new friends, parents and adult children, and the influence of “bolder” personalities on those who might not seem as bold. With two excellent starring performances and an impressive set, this is a show that’s well worth checking out.

Kelley Weber, Nancy Bell
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Roommate as part of their Steve Woolf Studio Series until November 17, 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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