Posts Tagged ‘rep studio’

The Rep Studio’s “Mothers and Sons” Features Complex Plot, Strong Acting

Posted in St Louis Theatre, tagged , , , , , on November 5, 2016| Leave a Comment »

Mothers and Sons
by Terrence McNally
Directed by Michael Evan Haney
Repertory Theatre of St. Louis, Studio
October 29, 2016

Darrie Lawrence, Harry Bouvy Photo by Peter Wochniak Repertory Theatre of St. Louis

Darrie Lawrence, Harry Bouvy
Photo by Peter Wochniak
Repertory Theatre of St. Louis

Mothers and Sons, currently playing at the Rep Studio, isn’t a long play, but there’s a whole lot going on. A complex plot and well-drawn characters make this play interesting and at times profound. The Rep’s production is especially notable for its excellent performances, conveying a lot of the depth of this story and making it riveting to watch.

It’s a somewhat complicated plot, mostly based on conversation and reflection. The play opens with Katharine (Darrie Lawrence) standing by the window in a well-appointed Manhattan apartment with Cal (Harry Bouvy), who’s pointing out the view of Central Park and various sights. The conversation is awkward, and we soon learn why. It turns out that Katharine is the mother of Andre, who died of AIDS 20 years previously and who was in a long-term relationship with Cal, who hasn’t seen Katharine since Andre’s memorial service. A lot has changed in 20 years, in the country as well in the personal lives of Katharine and Cal. Katharine is a recent widow, and Cal is now married to Will (Michael Keyloun), and they have a 7-year-old son, Bud (Simon Desilets). Katharine’s visit is a disruption of Cal and Will’s happy existence, and many issues are stirred up, including Katharine’s regrets concerning her relationship with Andre and with Cal, Cal’s feelings of guilt for having survived Andre and having achieved the happy married life he and Andre were unable to have, Katharine’s denial of various aspects of her son’s life, Will’s jealousy of the memory of Andre, the age difference between Will and Cal and its effects on their views of the world, and more. It’s a somewhat talky play, taking place in one space and with only four characters, so the emphasis is on the character dynamics and the relationships.  It covers a lot of issues in its 90 minutes, but the story builds well and the playwright Terrence McNally’s dialogue is incisive and insightful, for the most part. The biggest strength of this production, though, is in the acting.

Darrie Lawrence gives a remarkable, powerful performance as Katharine, an extremely flawed character who is made to face and deal with her own flaws, despite her frequent bouts of denial.  Lawrence makes Katharine’s rigidity, her resistance to change, and her humanity extremely believable, bringing weight to all the developing relationships in the play, especially with Bouvy’s Cal and the unseen but very well-realized Andre. Bouvy is also excellent as Cal, a man who has found happiness after loss but still deals with some unresolved guilt and regret. His scenes with Lawrence are charged with tension, and he also has some great moments with Keyloun as the amiable, earnest and thoughtful Will.  Young Desilets also gives a strong performance as Bud, a well-loved little boy who doesn’t quite understand what’s happening around him, but who wants everyone to be happy.  The love between the family unit of Cal, Will, and Bud is convincing, as are Bud’s attempts to include Katharine in the family dynamic.

The play’s staging setup works well for the drama that unfolds, as the action is surrounded on three sides by the audience, allowing for an effective sense of immediacy. James Wolk’s set recreates an upper class Manhattan apartment convincingly, and Elizabeth Eisloeffel’s costumes suit the characters well, also helping to emphasize the age and generational differences between the characters. There’s also strong use of lighting by John Wylie and clear, effective sound by Amanda Werre.

Overall, as its title suggests, Mothers and Sons is a play about relationships, featuring well-drawn characters and situations.  It tackles a number of issues specific to these characters as well as some important universal themes.  Terrence McNally is a an excellent playwright and he has a strong sense of time, place, and character, although what really brings this production to life is its superb performances, and especially that of Lawrence as Katharine.  There are a lot of difficult, intense emotions here, and they are portrayed with intensity, depth and clarity in this excellent, well-directed production at the Rep Studio.

Harry Bouvy, Michael Keyloun, Simon Desilets Photo by Peter Wochniak Repertory Theatre of St. Louis

Harry Bouvy, Michael Keyloun, Simon Desilets
Photo by Peter Wochniak
Repertory Theatre of St. Louis

Mothers and Sons is being presented at the Repertory Theatre of St. Louis Studio until November 13, 2016.

Read Full Post »

Well-Cast “Molly’s Hammer” Teaches a Personalized History Lesson at the Rep Studio

Posted in St Louis Theatre, tagged , , , , , , , , on March 18, 2016| Leave a Comment »

Molly’s Hammer
by Tammy Ryan
Based on the book Hammer of Justice by Liane Ellison Norman
Directed by Seth Gordon
Repertory Theatre of St. Louis, Studio
March 11, 2016

Joe Osheroff, Nancy Bell Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Joe Osheroff, Nancy Bell
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Cold War was tense time in American history, and it’s one I remember first-hand, at least to a degree. The threat of nuclear war and the generalized looming sense of dread it created is something I remember well from my childhood and teen years. Molly’s Hammer, a new play currently being presented at the Rep Studio, focuses on the anti-nuclear protest movement that developed as a result of this general threat of war to which the stockpiling of nuclear weapons contributed. Focusing on one key figure in this movement, the play seeks to present a personalized account of this movement and, for the most part, it succeeds.

Molly Rush (Nancy Bell) was a Pittsburgh area housewife who had been involved in various Catholic-led activist movements. This three-person play focuses on her increasing involvement in the opposition to nuclear weapons and her involvement with a protest action led by Catholic priest Daniel Berrigan (Kevin Orton, who plays many roles in this production), along with his brother and others. They formed a group known as the Plowshares Eight, and their protest action at a Pennsylvania General Electric plant in 1980 serves as the central focus of this production, including the events leading up to the action and its aftermath. The play also highlights the relationship between Rush and her husband Bill (Jose Osheroff), who loves Molly but isn’t sure what to think about her increasingly activist ways, especially when the threat of imprisonment and separation from him and their children becomes more and more likely.

This is an ambitious, inventively structured play, with two performers playing one role each and one performer (Orton) performing a variety of roles with no costume changes to indicate the variations of character. In fact, Orton’s performance is the most impressive simply because it depends so much on body language and line delivery. His portrayals of everyone from Daniel Berrigan to the Rushes’ various sons, daughters, and other family members as well as other activists, a judge, a female prison guard, and more are made convincing due to Orton’s clarity of performance. Bell turns in a fine performance as Molly, as well, portraying her determination and zeal for her cause in a thoughtful manner, and Osheroff is equally convincing as the conflicted but loving Bill, whose mission to convince Molly to temper her activist tendencies doesn’t go exactly as planned.

The structure of this play is at times confusing and also a little on the talky side. There’s a lot of talking about things that are about to happen, and a generally linear timeline that occasionally gets interrupted with a flashback, although there aren’t enough of these flashbacks to justify them, and they come across as interfering with the forward progress of the plot rather than augmenting it. Also, the staging can get cluttered with stagehands running on and off stage to change the scene, as Gianni Downs’ scene design mostly consists of a generalized backdrop with set pieces that are moved into place as needed, and sometimes these quick scene changes can come across as frantic and distracting. Aside from the set, there’s a good use of lighting and projections by Mark Wilson, and authentic looking early 1980’s costumes by Lou Bird.

Molly’s Hammer is an intriguing play about an important era of American History and a protest movement that generally isn’t talked about as much as others. Its a thought-provoking play led by an amiable cast, although the staging is sometimes muddled. Still, the performances and generally authentic evocation of the era make this show entertaining, educational, and worth seeing.

Nancy Bell, Kevin Orton Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Nancy Bell, Kevin Orton
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Molly’s Hammer runs at the Repertory Theatre of St. Louis’s Studio Theatre until March 27, 2016.

Read Full Post »

“Georama” at the Rep Studio Paints a Fascinating Picture of an Earlier Time

Posted in St Louis Theatre, tagged , , , , , , on January 28, 2016| Leave a Comment »

Georama
Book by West Hyler and Matt Schatz
Music and Lyrics by Matt Schatz
Directed by West Hyler
Repertory Theatre of St. Louis, Studio
January 23, 2016

Jillian Louis, P.J. Griffith Photo by Peter Wochniak Repertory Theatre of St. Louis

Jillian Louis, P.J. Griffith
Photo by Peter Wochniak
Repertory Theatre of St. Louis

Once upon a time, before photography was common or practical, and way before movies, the best way to see parts of the world you couldn’t visit was through paintings. Many of those huge panoramic paintings, and their painters, are now largely lost to history, but the Rep Studio’s latest World Premiere production, the musical Georama, is shining the spotlight back on one such painter, John Banvard, whose subject matter was the colossal, rolling Mississippi River. Taking the audience back in time to the 1840’s through song, story, and an impressively painted scrolling backdrop, Georama is a delight.

The story is framed as something of a folk tale, with Banvard (P.J. Griffith) as its hero, who according to the prologue is “the most famous man that you ain’t never heard of”. Two traveling musicians (Emily Mikesell, Jacob Yates) narrate the tale at various points and provide the musical accompaniment. It’s a folksy, Americana-ish score, with styles reminiscent of 19th century popular songs and more modern folk/country music to set the mood. As Banvard starts his career, he’s an itinerant portrait painter, until he’s discovered by aspiring showman and entrepeneur Taylor (Randy Blair) and goes to work painting backdrops on a showboat run by William Chapman (Dan Sharkey). The idea of a scrolling panorama is eventually born, and after some disagreements about promotion, Banvard strikes out on his own to explore the river and do more painting. He then meets up with Elizabeth (Jillian Louis), a pastor’s daughter and aspiring musician who has the idea of adding music to Banvard’s presentations. She joins him in his travels, and the operation grows in scope and renown, eventually ending up in London, while they eventually re-encounter Taylor, who has made his success under a slightly different form of his name, which I won’t spoil here but will be instantly recognized. As Banvard’s fame grows, however, so do his conflicts, as he and Elizabeth deal with differing priorities and the very nature and purpose of art, family, and home.

The form here works very well for this piece. The Rep’s studio space has been changed around to create an old-fashioned stage setup, with a magnificent scrolling panorama that serves as Banvard’s “Georama” and also as incidental backgrounds at various moments in the show. Set designer Scott C. Neale and scenic artists Emily Frei and Ryan Marshall have created a wondrous atmosphere with a richly detailed painting that, when scrolling, creates the sense of movement across the wide American countryside along the great Mississippi river, as well as showcasing other locations like London and New York. The costumes, designed by Margaret Weedon, are also impressively detailed. Ann G. Wrightson’s lighting Rusty Wandall’s sound also contribute to the overall effect. The music is also expertly performed by Mikesell and Yates, as well as Louis on the piano and harmonium.

As Banvard, Griffith brings just the right blend of qualities for a likable if conflicted hero. He’s got lots of charm, and a strong singing voice, as well as good comic ability when needed. His chemistry with Louis’s determined, feisty Elizabeth is excellent as well. Louis has a particularly impressive singing voice on ballads and more upbeat songs alike. Blair is appropriately ingratiating and scheming as the ambitious Taylor, and Sharkey is a standout in various roles, including the initially imposing but ultimately sympathetic Chapman. Sharkey also has a delightful scene-stealing moment as Queen Victoria, delivering top-notch comic relief when the show arrives in London, with the hilarious and ever-so-slightly risque song “Just a Little”. Mikesell and Yates make engaging narrators, as well.

The show does have a few minor issues, such as occasional clunky lyrics and awkward rhymes, as well as a story structure that moves a little too quickly in the second act.  Still, it’s a remarkable achievement and a thoroughly entertaining presentation telling the story of a once-celebrated artist who has mostly faded from the history books. Georama takes its audience on a tour of the Mississippi River and 19th Century America and beyond with heart, energy, a tuneful score, and a great cast. And that painting is a wonder in itself.

Randy Blair Photo by P.J. Griffith Repertory Theatre of St. Louis

Randy Blair
Photo by P.J. Griffith
Repertory Theatre of St. Louis

Georama runs at the Repertory Theatre of St. Louis’s Studio Theatre until February 7th, 2016

Read Full Post »

“I and You” at the Rep Studio is Challenging, Unique, Essential Theatre

Posted in St Louis Theatre, tagged , , , , , , on November 5, 2015| Leave a Comment »

I and You
by Lauren Gunderson
Directed by Jane Page
Repertory Theatre of St. Louis, Studio
October 30, 2015

Danielle Carlacci, Reynaldo Piniella Photo by Jerry Naunheim Jr. Repertory Theatre of St. Louis

Danielle Carlacci, Reynaldo Piniella
Photo by Jerry Naunheim Jr.
Repertory Theatre of St. Louis

I and You is a surprising play, in more ways than one. Ostensibly a two-person show about a study session between two high school students, the show turns out to be a lot more than that. As presented at the Rep Studio, this is a riveting, challenging, superbly cast play that explores issues of life, death, personal identity, friendship, communication, and more.

The action has already started when the lights go up in this one-act drama, as high school senior Caroline (Danielle Carlacci) is suspiciously questioning Anthony (Reynaldo Piniella), a classmate who has turned up uninvited to her room so they can work on a project for English class. The subject is Walt Whitman’s poem “Song of Myself” from Leaves of Grass. Before they can work together, however, Anthony has to break through Caroline’s defenses. Chronically ill since early childhood, Caroline is housebound and has made her room into a combination fortress and art gallery, displaying her creative works of photography and keeping in touch with the outside world primarily through social media. When confronted with a person in her room–even if it is the personable, engaging Anthony–Caroline bristles. Soon, however, the poem works its magic and the two are confronting not only its language and Whitman’s worldview, but their own fears, hopes, dreams, and desires for connection.

This play is a character study, but it’s more than that. It’s structured in a believable way that makes the conversations and interactions seem completely natural for a pair of teenagers who apparently have just met. Both characters confront one another’s assumptions and expectations, and their wrestling with Whitman’s language and concepts is entirely compelling, as Caroline tries to save Anthony’s sub-par poster and Anthony challenges Caroline to let down her guard and confront her own mortality. This isn’t as straightforward as it sounds, though. It’s definitely got some surprises in the mix, and the ending is a stunner that I didn’t predict at all, but still made complete sense in hindsight and didn’t come across as a trick or a gimmick.

The actors here are truly remarkable. Carlacci, as the diminutive but tough Caroline, is completly convincing as a teenager who has been so preoccupied by her health issues that she’s afraid to let herself hope for the future. Pinellia is charming as Anthony, an outgoing, friendly guy who is every bit as stubborn as Caroline, and is able to convincingly coax her out from behind her emotional wall. The staging is remarkable, as well, with the body language thoroughly authentic to how two teenagers who are just getting to know one another would act.

Technically, this show is as impressive as its story and its performances. The set is static for the most part. Designed by Eric Barker, it’s a detailed, accurate representation of a creative teenage girl’s room that has also become her sanctuary. The costumes by Marci Franklin are well-suited to the characters, and there is some striking lighting by John Wylie and memorable sound designed by Rusty Wandall. Just as there are a few dramatic surprises in this production, there are some technical surprises as well, and those are extremely effective.

I and You is the Rep Studio’s first production of the current season, and it’s a winner. I don’t want to say too much, because that would really spoil the drama of this excellent and unique work of theatrical excellence. All I can say is, go see this! It’s fascinating, thought-provoking, well thought-out, and profoundly effective.

Danielle Carlacci, Reynaldo Piniella Photo by Jerry Naunheim Jr. Repetory Theatre of St. Louis

Danielle Carlacci, Reynaldo Piniella
Photo by Jerry Naunheim Jr.
Repetory Theatre of St. Louis

I and You runs at the Repertory Theatre of St. Louis Studio Theatre until November 15, 2015

Read Full Post »

The Rep Studio Finds a Treasure in “Cellar”

Posted in St Louis Theatre, tagged , , , , , , , on March 26, 2015| Leave a Comment »

Buyer & Cellar
by Jonathan Tolins
Directed by Wendy Dann
Repertory Theatre of St. Louis, Studio
March 18, 2015

Jeremy Webb Photo by Jerry Naunheim, jr. Repertory Theatre of St. Louis

Jeremy Webb
Photo by Jerry Naunheim, jr.
Repertory Theatre of St. Louis

Apparently, Barbra Streisand’s basement isn’t just a basement. It’s a shopping mall. She even wrote a whole book about it, called My Passion For Design. That much is true. The rest of the story, as presented in playwright Jonathan Tolins’s one-man play Buyer & Cellar, is a hilarious, frantic fantasy.  Currently being presented at the Rep’s Studio, this unforgettable production is a brilliant showcase for its star, actor Jeremy Webb. It’s also surprisingly successful at being both a celebration and a critique of Streisand herself, with no dull moments in its roughly 90 minute running time.

After a short, comical disclaimer in which Webb, as himself, explains that the story we are about to see is fictional and he’s not exactly going to be doing a Streisand impression, the story gets going, and what a story it is! It tells the tale of Alex More, an out of work actor who has just been fired from Disneyland after a somewhat questionable incident in Toon Town. While looking for a new gig, he’s told of an unusual job at a palatial estate in Malibu, which he eventually finds out is owned by Barbra Streisand. The job is to serve as the sole employee of her elaborate basement mall, maintaining the merchandise and being there to cater to its sole customer, Streisand herself, whenever she deigns to make an appearance. Eventually, of course, she does, and an unlikely relationship develops between the young, initially somewhat clueless actor and the vain but charming Streisand. Through the course of the story, Webb plays a few other characters as well, including Streisand’s husband James Brolin, her somewhat haughty assistant Sharon–who is the one who hires Alex–and Alex’s movie buff boyfriend Barry, who knows a lot more about Streisand than Alex does at first, but then grows jealous of the gradually increasing bond between Alex and the superstar.

The story explores a lot of issues, from the nature of celebrity to Streisand’s status as a gay cultural icon, to celebrity hero-worship and indulgence, to the difference between authenticity and artificiality. It’s all done in a seemingly free-flowing way that ultimately follows a fairly well-structured arc. Set on a fairly neutral but vaguely 60’s-influenced backdrop designed by Steve Teneyck, who also designed the striking lighting, the centerpiece of this production is the dynamic performance of its sole actor. Webb is full of energy as he jumps, hops, skips, runs and near-flies from role to role. His Alex is a charismatic bundle of energy and charm, and he accomplishes the amazing feat of building a realistic relationship twice over, as represented in his portrayals of Streisand and of Alex’s boyfriend Barry.  Webb’s Streisand is, as he had announced, not an imitation but rather a re-imagining that brings to mind Martin Short more than Babs herself. It works surprisingly well, because the audience is able to get past the distraction of judging the authenticity of an impersonation, instead being enabled to actually view Streisand as a character in the story rather than merely an impression.  With Barry, Webb portrays a cynical fan who also clearly loves Alex, and he manages to achieve the strange feat of actually displaying romantic chemistry between two characters both played by himself. Webb is a marvel of controlled hyperactivity and surprising sympathy in the same performance. It’s a wonder to behold, as well as uproariously funny.

This is one of the most bizarre plays I’ve seen, and it’s a joy.  I didn’t know exactly what to expect when I walked into the Rep Studio the evening I saw this, and what I got was a pure treat.  It’s a performance that is full of wit, style and substance, and it’s never, ever boring.  Even if, like Alex at first, you don’t know a whole lot about Barbra Streisand, this is worth seeing. You’ll learn a lot and you’ll probably laugh even more.  It’s a must-see, and must-laugh, production.

Jeremy Webb Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Jeremy Webb
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Read Full Post »

The Rep’s Memorable “Safe House” Examines the Concept of Freedom

Posted in St Louis Theatre, tagged , , , , , , on January 30, 2015| Leave a Comment »

Safe House
by Keith Josef Adkins
Directed by Melissa Maxwell
Repertory Theatre of St. Louis, Studio
January 23, 2015

Will Cobbs, Kelly Taffe, Daniel Morgan Shelley, Michael Sean McGuinness Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Will Cobbs, Kelly Taffe, Daniel Morgan Shelley, Michael Sean McGuinness
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

History is being brought to life with vibrancy and much emotion and meaning in the Rep Studio’s current production of Safe House. Recounting injustices, hardships, and racial tensions in 1840’s Kentucky, this impeccably staged and cast production highlights issues that are historical but still relevant today. It’s an emotional, thoughtful and challenging exploration of the hopes and dreams of one family and of the very concept of freedom itself.

The story follows the Pedigrew family, free people of color living in a small Kentucky town 20 years before the Civil War.  While they live in a slave state, the Pedigrews have been free born for generations, and they have the certificates to prove it, which they must carry with them at all times.  The central figures are two very different brothers–Addison (Daniel Morgan Shelley), an itinerant cobbler who dreams of having his own shoe shop; and Frank (Will Cobbs), who bristles against his brother’s conciliatory ways and the restrictions imposed upon their family as a result of helping runaway slaves escape two years earlier.  As a punishment, the brothers and their Aunt Dorcas (Kelly Taffe) are forced to follow a curfew, stay out of the local creek (in which Frank likes to swim), and keep all the doors of their cabin open at all times.  These regulations are enforced by local deputy Bracken (Michael Sean McGuinness), a white man who grew up with Dorcas and the brothers’ parents, and seems conflicted as to where his loyalties lie. The upwardly mobile Addison, who has dreams of making shoes for the governor and gaining security for his family as a result of working for wealthy white customers, will stop at nothing to achieve his dream, while Dorcas and Frank still secretly desire to keep helping the escaped slaves get out of Kentrucky and, eventually, out of the country to settle in Liberia.  Addison also has designs on marrying his neighbor Clarissa (Raina Houston), apparently whether she likes it or not, since she actually prefers Frank.  With the two year period of punishment almost over, Addison relishes his plans for the shoe shop and prepares to visit the sheriff and ask for restoration of the family’s privileges, while a new runaway slave, Roxie (Cassia Thompson) arrives and presents the family with the dilemma of whether or not to help her or turn her in and stay in the good graces of the sheriff.

There are many more complications in the story throughout the rest of the play, with the major themes being freedom and loyalty.  Even though the family is technically free born, their rights are restricted in that they need to keep their papers with them and they are basically at the mercy of the sheriff.  For Addison, the answer to this problem is to give the authorities what they want, stay out of trouble and build his business. For Frank, freedom means not having to be told what to do. Dorcas holds to the ideals of freedom detailed in the letters from her relatives who’ve settled in Liberia, which becomes the symbol for her of a place of ultimate freedom. There’s also Clarissa, whose sense of freedom is restricted by expectations of when and who she will marry; and Roxie, who is fiercely determined to escape any and all forms of bondage. Addison’s dilemma, which forces him to choose between his own dreams and those of his brother, forms the central conflict of the play, which asks the question of whether a person is really free if his “freedom” depends on staying in the good graces of those in power. It also poses the dilemma of exactly how high a price a person would be willing to pay to attain their own personal goals, and asks whether or not that price is worth paying.

The play takes these concepts and brings them to life with richly drawn characters and strong performances. It’s a top-notch cast all around, with a great deal of emotion, energy and ensemble chemistry. As Addison, Shelley is full of ambition and bravado, with a single-minded focus on his goals. He brings depth and dimension to a somewhat difficult character. As the restless, increasingly determined Frank, Cobbs is dynamic and sympathetic.  His scenes with Shelley are full of intense conflict and complex emotion. As Dorcas, Taffe is a picture of wearied strength, wisdom, and hope against hope.  There are also strong performances from McGuinness as the initially easygoing but inwardly tormented Bracken, Houston as the conflicted Clarissa, and Thompson as the confrontational, fiercely determined Roxie. There are no weak links here, and every cast member contributes to the overall growing emotion and drama of the production as the intensity and suspense builds toward the story’s conclusion.

The set by Margery and Peter Spack effectively recreates an 1800’s wooden cabin, with a subdued color scheme and period details such as a cast-iron stove and a cluttered, barrel-filled shed. Myrna Colley-Lee’s costumes are meticulously authentic, setting the tone of the 1840’s in clear detail. The period-styled music by Scott O’Brien also contributes to the overall 1800’s Southern setting.

This is a show about freedom and what it means, and the lengths people will go to achieve it.  It’s also a reminder of this country’s less-than-savory past and a reminder that many of these issues are still being dealt with today.  With a dynamic cast and a sense of immediacy that brings this historical tale to the present with strong impact, Safe House is a production not to be missed.

Will Cobbs, Daniel Morgan Shelley Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Will Cobbs, Daniel Morgan Shelley
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

 

 

Read Full Post »

An Emotional,Thoughtful “Jake” at the Rep Studio

Posted in St Louis Theatre, tagged , , , , , , on November 5, 2014| Leave a Comment »

A Kid Like Jake
by Daniel Pearle
Directed by Seth Gordon
Repertory Theatre of St. Louis, Studio
November 1, 2014

Alex Hanna, Leigh Williams Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Alex Hanna, Leigh Williams
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

A Kid Like Jake is a play that’s notable in that we never actually get to meet the title character. Four-year-old Jake is much described by his parents and others, with words such as “creative”, “imaginitive” and “unique”, although it is left to the audience to imagine exactly what he is like. What we are shown is the arduous journey that his parents undertake in order to get him placed into a prestigious New York City private school, and the process that leads them to understand more about their child, the educational system, and themselves in the process.  This is a simply staged play with a cast of four that deals with some very timely issues, and it’s been produced with much care and skill in the Rep’s studio theatre.

When we first meet Alex (Leigh Williams) and Greg (Alex Hanna), they are poring over yet another form they have to fill out in order to get their young son, Jake, considered for admission to a number of high-end private schools in New York.  Alex enlists Greg’s input into the essay she has written, and much talk ensues about how to best represent Jake in order to get him noticed by the schools’ officials. Gradually, we learn more about Jake–that he’s sensitive, imiginative, and individualistic, and that one of his favorite toys is a Cinderella doll.  In meetings with Jake’s pre-school administrator Judy (Susan Pellegrino), we learn more about Jake and the uniqueness of his personality, and particularly issues concerning his gender identity that both of his parents aren’t quite sure how to process.  They love Jake and have always been supportive of him, but issues of “labels” and using his personality as an angle to get him noticed by schools are points of stress, as is Jake’s increasing aggression and acting out at school. Meanwhile, Alex and Greg are also dealing with issues of a complicated pregnancy.  The play is structured as a series of vignettes–at home, at a restaurant, at school, at a doctor’s office, etc.–with each of the scenes shedding more light on the ongoing issues that are challenging Alex and Greg’s assumptions about themselves and their child, as well as their marriage and their own childhood issues that have affected their lives as adults.

This play covers various aspects of the issues concerning gender identity in children, and it also deals with issues of parental expectations, competitiveness in education, and more.  The school selection process seems daunting–even terrifying–for any parent, and the fairness of it all is called into question, as is the question of when parents need to recognize if and when they are putting their own goals for their children ahead of the children’s best interests. As much as Jake is talked about in this play, though, the focus here is mostly on the parents, and their relationship not just with their child but with one another. The fact that Jake never actually appears on stage is both a challenge and an asset for the play, in that he needs to be presented as a fully realized character without actually being seen, while the element of mystery also adds to the drama. The occasional references to various versions of the Cinderella story provide a compelling through-line for the story, as well. The setting is very simple, with a simple unit set designed by Gianni Downs, with panels that open and close to suggest various different settings, such as Greg and Alex’s home, Judy’s office, and more.  The atmospheric lighting, designed by John Wylie, also adds to the overall atmosphere of the play, providing a backdrop for the action and providing a somewhat otherworldly suggestion to a key scene late in the play.

The performances here are critical to the success of this simply structured but intense play, with Williams bearing most of the emotional weight as Alex, on whose journey much of the play focuses. Alex is the one who raises a lot of the questions that are talked about here, and she’s the one who goes through the most change as a character, and Williams puts a great deal of energy into her performance, finding a lot of sympathy even in some of her confrontational moments.  Hanna is also strong as the more even-tempered Greg, whose concern for both his son and his wife are clear, and Pellegrino gives a compelling performance as the concerned, compassionate Judy.  Jacqueline Thompson also turns in a good performance as a sympathetic nurse.  It’s the intensity of the emotions and relationships that propel the story in this play, and all four cast members do an excellent job, with strong rapport and energy.

A Kid Like Jake is a play that’s bound to provoke a great deal of thought and discussion. It’s an intimate play, with a simple setting and a small cast, but dealing with some particularly weighty issues on a very human scale.  It’s a challenging, intriguing, and ultimately fascinating piece of theatre at the Rep Studio.

Susan Pellegrino, Leigh Williams, Alex Hanna Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Susan Pellegrino, Leigh Williams, Alex Hanna
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Read Full Post »

A Disorienting–and Mesmerizing–Mind Trip

Posted in St Louis Theatre, tagged , , , , , on January 27, 2014| Leave a Comment »

The Other Place
by Sharr White
Directed by Rob Ruggiero
Repertory Theatre of St. Louis, Studio Theatre
January 24th, 2014

Kate Levy Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Kate Levy
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Other Place is at once a play, a location, and a symbol.  The title of the Rep Studio’s remarkable current production refers to a second home on Cape Cod owned by 52-year-old pharmaceutical research scientist Juliana Smithton (Kate Levy) and her oncologist husband, Ian (R. Ward Duffy).  It’s a place that represents both nostalgia and regret for Juliana, as well as serving as the center of the unfolding mystery of what is happening in her mind throughout the course of the play, and what is revealed is not always easy to deal with, to say the least.   It’s a fascinating exploration of the workings and unravelings of the human mind, brought to life boldly and vividly by a superb cast in a way that is very powerful and profoundly affecting.  This is one of those rare shows that leaves me so stunned that I feel like I’ve been punched in the gut (in a metaphorical sense)—and that’s a good thing.

The play begins with Juliana recounting an “episode” that happened during a lecture about a new drug that’s being developed to treat dementia, and the story unfolds in non-linear fashion from there, as Juliana’s perceptions of her world are challenged by those around her, including her increasingly frustrated husband, and her doctor (one of several roles played by Amelia McClain).  Juliana assumes that her confusion and disorientation are the result of brain cancer, but then many things Juliana believes are called into question, including her relationship with her daughter (also McClain) and some key events in her family’s past that lead to some intense revelations as the story unfolds.  As Juliana’s perceptions clash with those of the world around her, the drama becomes increasingly intense and confrontational, leading to some harrowing dramatic moments that are brutally honest and sometimes difficult to watch, as Juliana’s unnamed disorder sometimes incites her to behave in confusing and even cruel ways, especially toward her husband and doctor. A visit to the “Other Place” is the key to unlocking secrets of Juliana’s present reality as well as her past regrets.

This is a four-person cast, but the central focus is undeniably Juliana. It’s such a colossal, challenging role in that she is rarely offstage and the play delves so thoroughly into her thoughts, feelings and perceptions in such a raw, unflinching way that I’m sure it requires a great deal of energy to perform this role night after night, and Levy gives a wondrous performance. It’s a fully realized, multi-layered characterization that shows us the many sides of Juliana.  She can be tough, crass, snarky and even cruel, but that’s masking a very real sense of vulnerability and fear that Levy brings out more and more as the play develops, and strikingly enough, she gains the audience’s sympathy mainly by not inviting it, presenting a portrait of a woman who wants to appear to be so assertive and together at the beginning, but then lets us watch as her composure completely falls apart and wish for her to find a way to put the pieces back together.

Levy holds the stage and the audience’s attention masterfully, and the rest of the cast lends excellent support.  Duffy as Ian is a solid presence, and his scenes with Levy crackle with tension.  He paints a vivid picture of Ian’s increasing exasperation as well as his clearly evident underlying love for Juliana.  As confused and wounded as Ian is, he doesn’t want to give up on Juliana, and this determination is convincingly played by Duffy.  McClain, in various roles, also leaves a strong impression and seamlessly shifting from character to character as the story demands, and she shines along with Levy in a raw and emotionally devastating key moment in the show (as an unnamed woman who is confronted in a startling way by Juliana), bringing out much honesty and sympathy as the reality of Juliana’s situation is brought to light. Clark Scott Carmichael also gives a strong performance in various roles including a former student of Juliana’s and a supportive nurse.

Technically, this show is a wonder as well, contributing to the drama of the production by providing just the right atmosphere.  Luke Hegel-Cantarella’s set is an ideally suited backdrop to the proceedings, with its backdrop of well-ordered wall tiles on one side that are arranged to appear much less ordered on the other end, possibly representing Juliana’s dissent into mental and emotional chaos. There’s also a  well-appointed modular section that pulls out to serve as the cozy Cape Cod cottage.  This play also makes excellent use of projections (designed by William Cusick) to serve as illustrations for Juliana’s lecture and then to underscore various moments in the story, particularly affectingly at the end.

Overall, this is a very well-written and structured, impeccably staged play that more than adequately portrays one woman’s journey through the clouded world of an illness that affects her very perception of reality, and it was quite an experience to watch. This is a truly unforgettable production with a top-flight cast and one of the most memorable individual performances (Levy’s) that I’ve witnessed in quite a while.  It’s not an easy play to watch at times because of the subject matter and the confrontational nature of the more emotional scenes, but it’s a thoroughly worthwhile experience that draws a rich portrait of this character and the world around her. It’s a descent into chaos, but the impression we are left with is that there is some hope in the midst of the chaos, and that makes this production all the more rewarding.

Amelia McClain, Kate Levy, R. Ward Duffy Photo by Jerry Naunheim, Jr. The Repertory Theatre of St. Louis

Amelia McClain, Kate Levy, R. Ward Duffy
Photo by Jerry Naunheim, Jr.
The Repertory Theatre of St. Louis

Read Full Post »

« Newer Posts