Posts Tagged ‘repertory theatre of st louis’

The Rep’s “Ring of Fire” is a Celebration of Music and a Complex Life

Posted in St Louis Theatre, tagged , , , , , , , , , on March 28, 2026| Leave a Comment »

Ring of Fire: The Music of Johnny Cash
Written by Richard Maltby, Jr., Conceived by William Meade
Directed by Kate Bergstrom
The Repertory Theatre of St. Louis
March 20, 2026

Cast of Ring of Fire
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis’s latest production is a celebration of a man and his music, with the music taking the lead. Ring of Fire: the Music of Johnny Cash has been done at the Rep before, although this version, directed by Kate Bergstrom, seems a bit more dramatically focused, although music is still the star, with an excellent cast who all play instruments and make this “life of a musician” retrospective especially compelling, along with the show’s focus on talented but flawed individual who made the music. 

The show, featuring a cast of six players includes two “Johnny Cash” figures–the older Johnny (Kurt Zischke), who serves as the primary narrator; and the younger “J.R” (Andrew Frace), who figures in much of the developing story of Cash as a rising young performer. The production uses music to tell a fairly streamlined story of Cash’s life and career, featuring his parents (Zischke and Kim Blanck), his first wife, Vivian (Blanck), and most prominently his second wife, June Carter Cash (Caitlin McKechney), as the older Cash looks back on his life and personal choices. All along, the music is there, setting the mood and underscoring the story, as the musicians play expertly, including Eric Scott Anthony as Marshall and Ryan Guerra as Luther–Cash’s bandmates. It’s a story of hardship, love, and loss; aspiration, failure, and success; redemption and hope, all with the soundtrack of Cash’s classic hits like “I Walk the Line”, “Folsom Prison Blues”, “I’ve Been Everywhere”, and “Ring of Fire”, along with some country classics and traditional hymns. 

The music is the star, as I wrote, but the cast is simply magnificent as well, doing justice to the songs and overall spirit of musicianship and perseverance in trials. Zischke and Frace are both excellent as the older and younger versions of Cash, both managing to sound a lot like the singer in his different ages and eras. Frace especially gets the swagger and tone of the young Cash just right, as well as the stage presence, and Zischke has the right air of gravity and occasional melancholy as the older Cash looking back on his life. Zischke also has some fun moments early in the show as Cash’s father, paired with the personable and equally strong McKechney as Cash’s mother. McKechney is also ideally cast as June, managing to look and sound a lot like the real June, while playing a variety of instruments with dexterity and style and displaying believable chemistry with both “Johnnys”.  Blanck is also strong musically, especially on the fiddle, as well as getting a poignant moment as the neglected Vivian singing the heartbreakingly genuine “I Still Miss Someone”. Anthony and Guerra round out the cast with their superb musicianship, likable presence, and seemingly boundless energy. While the story itself isn’t exactly a thorough biography, it’s mostly about feelings, memories, and music, and all the players work well together getting that spirit across with flair.

In a technical sense, the show is simply and solidly staged, with an effective unit set by Scott C. Neale that reflects Cash’s farming roots and the traditions of country music. It’s all well lit by lighting designer Jayson Lawshee-Gress, with strong work by sound designer Amanda Werre, as well. The cast is outfitted with impressive country style by costume designer Renee Garcia, and there’s a bit of energetic country choreography by Taavon Gamble.

Overall, Ring of Fire is immensely entertaining, even if it is more concert than play. It should especially appeal to fans of traditional country music, and especially Johnny Cash. It’s certainly a crowd pleaser, and a highly enjoyable evening of musicianship, energy, and emotion in celebration of an imperfect but irreplaceable country music legend.

Andrew Frace, Kurt Zischke
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ring of Fire: The Music of Johnny Cash at the Loretto-Hilton Center until April 12, 2026

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Kindness, Connection, and Community Highlight Heartwarming “Primary Trust” at the Rep

Posted in St Louis Theatre, tagged , , , , , on February 12, 2026| Leave a Comment »

Primary Trust
by Eboni Booth
Directed by Tyrone Phillips
Repertory Theatre of St. Louis
February 6, 2026

Ronald L. Conner, Gregory Fenner, Alan Knoll
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis’s latest production is a profound theatrical experience. There’s no other way to say it. Primary Trust, the Pulitzer Prize-winning play by Eboni Booth, is being given an artfully crafted, impeccably acted, and expertly designed production at the Rep, thoughtfully directed by Tyrone Phillips and featuring a truly stellar leading performance. It’s a timely play that speaks a lot to issues of connection, community, mental health, and overall kindness and understanding. 

This is a story that wears its emotion on its sleeve, as 38-year-old Kenneth (Gregory Fenner) narrates the story of his life and daily routine, set in the fictional Rochester suburb of Cranberry, New York. Kenneth tries to keep the mood upbeat as he talks about his relationship with his mother, who died when he was young, and his longtime job at a bookstore run by the friendly Sam (Alan Knoll), and his daily visits to Happy Hour at local tiki bar Wally’s, where a succession of waiters (all played by Kierra Bunch) greet him and serve their signature Mai Tai cocktails. He seems relatively satisfied with his routine of working and hanging out at Wally’s with his best friend, Bert (Ronald L. Conner)–who isn’t exactly what you might think. Soon, events transpire which push Kenneth out of his comfort zone, as he finds himself needing a new job and friendly new Wally’s server Corinna (Bunch) suggests he apply at a local bank, Primary Trust, that’s in need of tellers. Kenneth is nervous in the interview, but the bank manager, Clay (Knoll) takes a liking to him, and Kenneth soon finds himself in a rapidly changing new environment where he discovers new talents and interests and has to face some uncomfortable truths about himself and the routine to which he had been accustomed. 

The tone of the show is largely comic, but with a strong undercurrent of pathos, as Kenneth deals with anxiety, loneliness, and an increasingly obvious need for connection and understanding. Kenneth is the show’s center and heart, with the characters around him representing a sense of welcome and kindness that he obviously needs. It’s a thoughtful, brilliantly scripted and characterized ode to the increasingly common crisis of connection in modern society, as well as touching on issues of mental health, found family and a need for a sense of purpose in life. 

The cast is first-rate, led by a truly remarkable portrayal by Fenner of the likable, insistently upbeat but struggling Kenneth. Fenner brings an amiable relatability and palpable sense of urgency to Kenneth as he navigates the rapidly changing realities of his world. There’s humor, sensitivity, and warmth to Fenner’s performance. The rest of the cast lends excellent support, with special kudos to Bunch for portraying a wide variety of waiters and bank customers with impressive versatility, as well as the personable Corinna. Knoll is also strong as important “boss” characters Sam and Clay, and Conner makes a great “sounding board” for Kenneth as the supportive Bert.  There’s also excellent musical accompaniment from composer and onstage musician Jermaine Manor.

The world of the play is meticulously crafted and presented through means of the whimsical and creative set by Sotirios Livaditis, cleverly representing the “upside down town” that Kenneth inhabits, especially at first. There’s also excellent work from lighting designer Jason Lynch and sound designer Connor Wang in maintaining the overall atmosphere of the story. The costumes by Shevaré Perry are also well-suited to the characters and tone of the production. 

The Rep has had an excellent season so far, but this is my favorite of their mainstage shows. Primary Trust is such an insightful, well-scripted, and ultimately uplifting show. I can see why it won a Pulitzer Prize. And at the Rep, the casting–and especially the fantastic Fenner–couldn’t be better. This is a play not to be missed.

Gregory Fenner, Ronald L. Conner, Kierra Bunch
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Primary Trust until March 1, 2026

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“Mrs. Krishnan’s Party” Is a Festive Cultural Celebration Hosted by the Rep

Posted in St Louis Theatre, World Theatre, tagged , , , , , , , on January 17, 2026| Leave a Comment »

Mrs. Krishnan’s Party
by Jacob Rajan and Justin Lewis
Directed by Justin Lewis
Indian Ink Theatre Company at Repertory Theatre of St. Louis
January 16, 2026

Kalyani Nagarajan, Justin Te Honihana Pokaihau Rogers
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is hosting a party, and it’s a lot of fun. As the latest entry is their Steve Woolf Studio series, the company is playing host to New Zealand’s Indian Ink Theatre company, who have brought their lively, colorful and energetic Mrs. Krishna’s Party to St. Louis with energy, style, and a good deal of heart. There’s also food, and if you like Indian food, this should be a treat in more ways than one. 

This is more of an immersive experience than a simple play. The audience members get to choose their seating, from “Inner Circle” to “Cheeky” to “Wallflower” depending on how much they want to be included in the action, as there’s quite a pervasive audience-participation element to the show. The guests are all seated by James (Justin Te Honihana Pokaihau Rogers) and introduced to the setting–an Indian grocery store in New Zealand, where James is hosting a party celebrating the Hindu harvest festival of Onam, as a surprise for his landlady and shop owner Mrs. Krishnan (Kalyani Nagarajan). James, dressed in an elaborate costume in keeping with the story behind Onam, is also an aspiring DJ, and shares his festive playlist with the guests. When it comes to the surprise, Mrs. Krishnan doesn’t take it well, at least initially, as she’s waiting for her son to fly in from out of town, and she also has a busy shop to run, although she’s been considering selling it so that she can move back to India. The enthusiastic and upbeat James encourages Mrs. K to get into the spirit of the party, and she gradually comes around, as the two soon start cooking a festive meal and explaining what Onam is about. As the evening plays out, we soon learn more about Mrs. K and her backstory, as well as why James lives with her, and her relationships with her son, her late husband, a mysterious “friend” who keeps calling her on the phone, and more. It’s a fun, humorous, and occasionally poignant look at life, family, loss, and perseverance, as well as a celebration of Indian culture, heritage, and food.

The leads are simply fantastic, full of energy and lively embodiment of their immensely likable characters. Nagarajan and Rogers are also especially adept at going with the “flow” of the store, as frequent audience interaction–and involving audience members directly in the story–creates many opportunities for improvisation. Both performers shine in these moments, and throughout the show, with Rogers in a vivacious, amiable turn as the young, somewhat aimless but still optimistic James, and Nagarajan in a fully-realized turn as a hardworking widowed mother with a heart for her family and tradition but who is also dealing with the effects of past tragedy and hardship. The interplay between these two characters–and between them and the audience–are a true highlight of this vibrant, fun production. They also manage to cook a (vegetarian, gluten-free) meal onstage–imbuing the air with the wonderful smells of Indian cuisine–as the story plays out.

The studio space has been adapted ideally for the party setting, which is supposed to be in the back room of Mrs. Krishnan’s shop. The industrial look and well-placed party decorations work well for creating and maintaining the DIY festive vibe, with set design by John Verryt. Jane Hakaraia’s lighting and Lia Kelly’s sound also add much to the atmosphere, and the fun touches like colorful scarves and balloons handed out to the audience add to the festive tone. There’s also excellent costume design by Fiona Nichols, reflecting the festive tone and celebration of culture, and also suiting the characters appropriately. 

Mrs. Krishna’s Party is a well-paced, especially well-cast show with energy and emotion, as well as being an effective lesson in history and culture that many in the audience might not know about. There’s also great food, handed out after the show. It’s unique experience, and the audience seemed to have a great time when I saw it. I’m still not exactly thrilled about the Rep’s hosting tours, but this one is a memorable showcase for a little-known (in the USA) Indian-focused theatre company based in New Zealand. Kudos to all involved, although knowing the next studio show is also a tour makes me hope even more that the Rep will focus more on locally-produced shows in the future. 

Justin Te Honihana Pokaihau Rogers and Audience
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is hosting Indian Ink Theatre Company’s production of Mrs. Krishnan’s Party as part of the Rep’s Steve Woolf Studio Series until February 8, 2026

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Outrageous Comedy, Strong Performances Highlight the Rep’s Self-Referential “Emma”

Posted in St Louis Theatre, tagged , , , , on December 13, 2025| Leave a Comment »

Emma
by Kate Hamill
Based on the Novel by Jane Austen
Directed by Tracy Brigden
The Repertory Theatre of St. Louis
December 5, 2025

Cast of Emma
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

Jane Austen’s Emma is a classic that’s been adapted many times for various media, including more straightforward adaptations as well as updated re-imaginings such as the movie Clueless. The latest production at the Rep, adapted by Kate Hamill and directed by Tracy Brigden, isn’t a full-fledged reinvention, but it certainly has fun with the source material in terms of tone and style, and also in interpretation, with a decidedly 21st century take on the novel’s themes. It’s an inventive, energetically staged, slapstick-comic production that looks great and features some truly hilarious performances and moments.

Some streamlining is understandably necessary in adapting a book for the stage, and this show does a bit of that in terms of settings, events, and some characters who are given slightly different backstories than their novel counterparts. The basic story is the same, though, concentrating on wealthy young Emma Woodhouse (Adelin Phelps), who is pleased with herself after the wedding of her friend and former governess (Kathryn A. Bentley) to kindly neighbor Mr. Weston (Michael James Reed). Emma takes credit for setting the pair up, so she sets out to play matchmaker for her new protege, the young, socially awkward and less financially advantaged Harriet Smith (Lize Lewy) in hopes of finding her a “better” match than humble groundskeeper Robert Martin (Ryan Omar Stack), to the discouragement of her longtime friend Mr. Knightley (Louis Reyes McWilliams), who is doubtful of Emma’s motives and of her efforts’ potential benefits for Harriet. Of course, hijinks and hilarity ensue, as Emma’s efforts to match Harriet with the somewhat silly local vicar Mr. Elton (Jack Dryden) have unintended consequences, and more misunderstandings and presumptions lead to even more predicaments involving Mr. Weston’s long-absent son Frank Churchill (also Stack), the loquatious Miss Bates (Nancy Bell) and her much-lauded niece, Jane Fairfax (Maggie Newstead-Adams). It’s all quite fast-paced and over-the-top comic, which is hilarious and excellently timed, and the constant sparring/flirtation between Emma and Knightley is played up with delightful effect, and all the characters are given moments to shine as the story plays out in raucous, highly entertaining fashion.

The setup has been given a modern twist in that it’s all very meta, with Emma narrating the story and talking directly to the audience throughout the play, and at various moments reminding us that it’s a play based on a novel. Also, some themes that are implied in the novel and have been pointed out by scholars over the years have been given a much more direct interpretation here–saying the quiet parts out loud, so to speak. For instance, Emma’s mischief being attributed to the idleness of a pampered rich lady who isn’t allowed to do much else becomes a major theme of this version, and Mrs. Weston is given much more of a role as a voice of reason in this adaptation, as well as Harriet’s journey toward finding her own voice apart from Emma’s. It’s a feminist twist that’s not out of place because it is suggested in the novel, but the themes are stated much more openly here. It all works well, considering the energy and enthusiasm of the cast, the wittiness and intelligence of the script, and the clever staging and direction.

The cast is wonderful, led by Phelps’s somewhat wacky turn as the determined, increasingly frustrated Emma and by Lewy’s brilliant comic performance as the endearingly awkward and increasingly bold Harriet. The scenes between these two are among the highlights of the production, as are the scenes between Phelps and the also excellent McWilliams in a charming turn as Knightley. There are also memorable performances from Bentley as the wise Mrs. Weston, Bell as the friendly chatterbox Miss Bates, Newstead-Adams as the softspoken and mysterious Jane Fairfax, and Dryden in a hilarious turn as a somewhat unhinged Mr. Elton. There are also a number of impressive dual roles, led by Reed as the charming Mr. Weston and anxious Mr. Woodhouse, who extols the virtues of gruel at every opportunity. Stack is also excellent as the charming but evasive Frank Churchill and the earnest Robert Martin, and Olivia Balicki seems to be having a lot of fun as the besotted Mrs. Elton and the cranky, mostly mute Mrs. Bates. The ensemble energy is frantic and well-timed, adding much to the overall comic value and tone of the story.

Visually, this production is particularly striking, with a pop-up postcard style set by Margery Spack and Peter Spack that utilizes a turntable to change scenes and is surrounded by floral accents that suggest the countryside setting of the story. Jason Lynch’s lighting adds to the mood with style, as well, as does the memorable soundtrack by composer and sound designer John Gromade. There are also marvelously detailed period costumes by Dottie Marshall-Englis, and energetic choreography in the dance scenes by Sam Gaitsch. 

This is an Emma with energy, style, and substance. The characters are lively, the setting is vibrant, and the tone is upbeat and modern while also retaining the flair and style of Regency England. While it’s not exactly a holiday play, its energy and atmosphere make it a fitting show for the season at the Rep. 

Lize Lewy, Adelin Phelps
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Emma until December 21, 2025

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Fast-Moving, Hilarious “Cottage” at the Rep is a Wild, Memorable Season Opener

Posted in St Louis Theatre, tagged , , , , , on September 11, 2025| Leave a Comment »

The Cottage
by Sandy Rustin
Directed by Risa Brainin
Repertory Theatre of St. Louis
September 5, 2025

Jordan Coughtry, Andrea San Miguel, Isa Venere, Jack Dryden, Jihan Haddad
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is launching their new season with a wild, physically demanding and precisely timed relationship comedy in the vein of Noël Coward, but as if Coward had a bit too much caffeine. Sandy Rustin’s The Cottage is frantic, it’s raunchy, it’s witty, and it’s a whole lot of fun. It also boasts a great cast and a set like the best of the Rep’s “house” sets–one that may make you want to move in.

It’s fitting that the set, designed with marvelous detail by Robert Mark Morgan, is so memorable, since the titular Cottage is essentially one of the play’s stars. In fact, this play has a lot in common with another of Rustin’s works that has been performed in St. Louis in the last few years–Clue–in that both plays feature quirky, well-defined characters, feature a lot of fast-moving and highly physical comedy, and include a house set that serves as something of a character in itself. Here, though, there’s an original story, inspired by the works of Coward and set in 1923, which is apparently soon after divorce law in the UK was revised so that women had the same rights for filing as men. That’s relevant because this is a play about marriage, divorce, infidelity, secrets and lies, with a particular focus on women’s agency. 

The show opens as Sylvia (Andrea San Miguel) and Beau (Jordan Coughtry) are indulging in an amorous encounter at his family’s cottage, which is a well-appointed upscale English country dwelling that features a prominent portrait of Beau’s mother, who is frequently mentioned but never actually appears. Soon we learn that these two are having an illicit tryst, as they do once a year, hiding their encounters from their respective spouses, as Beau is married to the more fastidious Marjorie (Jihan Haddad) and Sylvia is married to Beau’s somewhat stuffy brother, Clarke (Jack Dryden). Of course, the spouses will eventually show up, but they also usher a series of surprises that I won’t spoil, which eventually include more characters–the scatterbrained Deirdre (Isa Venere) and her apparently murderous husband, Richard (Andrés Enriquez), who bring secrets of their own. The fast-paced interactions, along with a series of revelations, drives the plot, and the expertly choreographed physical comedy adds layers of hilarity as played out by the spectacular cast.

The cast is simply marvelous, led by delightfully physical performances from San Miguel as the somewhat bossy, frequently surprised Sylvia, whose comic timing is simply impeccable. There are also terrific turns from Coughtry as the pompous Beau, Dryden and Haddad showing excellent rapport as Clarke and Marjorie, as well as delightfully goofy showings from Venere as the hilariously forgetful Deirdre and Enriquez as the mysterious and eager Richard. There’s also a fine performance from Sam Matthews in a small role as the gardener. The entire ensemble works together well, with excellent timing, tremendous energy, and razor-sharp wit.  The script is madcap and clever, as well, with fun little touches that send up English manners and rote politeness (such as the constant offers of tea), despite the very real conflict that occurs and ramps up as the story plays out.

The production is simply dazzling, as well, with that marvelous set with all its nooks, crannies and hiding places, along with detailed period costumes by Renee Garcia. Lighting designer Michael Klaers and sound designer Amanda Werre add to the overall intensity and period flair of the show, and there’s also excellent work from fight director Paul Steger and intimacy director Jamie McKittrick. Dialect coach Lauren Roth is also to be commended, since the English accents are well-done and consistent.

The Cottage is, simply speaking, a hilarious, frantically paced must-see. It’s a laugh riot and comedy of manners for mature audiences, moving with breakneck speed and serving as a delightful showcase for a truly superb cast of performers. It’s a fantastic start for a new season at the Rep.

Andrea San Miguel, Jordan Coughtry, Jihan Haddad, Jack Dryden, Andrés Enriquez
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Cottage until September 28, 2025

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“Sherwood” is Swashbuckling, Action-Packed Fun at the Rep

Posted in St Louis Theatre, tagged , , , , , , , , on March 22, 2025| 1 Comment »

Ken Ludwig’s Sherwood: The Adventures of Robin Hood
by Ken Ludwig
Directed by Kate Bergstrom
Repertory Theatre of St. Louis
March 21, 2025

Matt Lytle, Jayne McLendon, Michael James Reed, CB Brown, Louis Reyes McWilliams
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is closing out its 2024-2025 season with a wildly entertaining bit of adventurous fun. With nods to the classic story, filmed versions, and especially Monty Python, Ken Ludwig’s Sherwood: The Adventures of Robin Hood is a hilarious, engaging adventure from start to finish. With vivid, whimsical storybook-styling and an enthusiastic, well-chosen cast, this is a show that’s a delight for all ages. 

The Robin Hood story has been told many times in various forms, and the marvelous, vividly realized set by Lindsay Mummert and Courtney O’Neill evokes a giant pop-up storybook surmounted by a massive oak tree. The cast led by Michael James Reed’s Friar Tuck, who narrates much of the story, introduces us to the story of the titular hero, Robin Hood (Louis Reyes McWilliams) in the middle of the action, as he’s about to be executed by the government of the greedy Prince John (Eric Dean White),  conducted by the vain Sir Guy of Gisbourne (Matt Lytle), but then the story flashes back to the very beginning, as Robin of Locksley is born and grows up as a member of the nobility and is soon made aware of the oppression of the Saxons by the Norman conquerors. Upon saving the lives of a miller and his daughter, Deorwynn (Fabiola Cabrera-Davila), Robin starts on a mission to right wrongs and help the poor and oppressed throughout England, rousing the ire of Prince John, Sir Guy, and Sir Guy’s henchman, the foppish Sheriff of Nottingham (David Weynand). Along the way, Robin draws a following, making friends with Friar Tuck along with Little John (CB Brown), and others, and becomes reacquainted with his childhood friend Maid Marian (Jayne McLendon), who had been sent away to France and has returned having become an expert archer and involved in a situation that makes things more complicated for both her and Robin. As the story progresses, many of the familiar Robin Hood tales are told, and adventure ensues as Robin and his merry band lead the fight for justice for the poor and wait for the return of the absent King Richard. 

The tone of this show is decidedly comic, although there are occasional moments of heartfelt drama. The style takes a fair amount of influence from Monty Python specifically, with one hilarious direct nod that I won’t spoil, but that audiences familiar with the source will recognize as soon as they see it. The characterizations are broad and not exactly caricatures, but with the villains veering more into that territory than the heroes, which provides great comic fodder for the actors. Lytle, Weynand, and White especially seem to be having a marvelous time hamming it up in villainous ways, but the heroes also have their moments to shine, led by McWilliams in a heroic turn as Robin and McLendon as the fiery, gutsy Marian who is in every way Robin’s match. Reed, Brown, and Cabrera-Davila also turn in strong, characterful performances, ably supported by Oriana Lada in a variety of roles and DeAnté Bryant as Troubadour, accompanying the cast on guitar as the story goes along.

There’s a lot of music in this show, actually, composed in a traditional folk-style by music director Colin McLaughlin and played and sung throughout the show by various cast members. There’s also dynamic fight choreography by Rachel Lee Flasher and Zachariah Payne, who also serve as intimacy choreographers. The glorious set is augmented well by means of Christina Watanabe’s excellent lighting and Amanda Werre’s proficient sound design. The costumes, by Dottie Marshall Englis, are meticulously crafted and colorful, fitting in with the overall whimsical tone of the show and working well with the aforementioned stunningly realized set. 

In no uncertain terms, Sherwood is simply a hilarious, adventurous romp through the forest, with an adventurous spirit and an enthusiastic cast that gives this production an extra dose of warmth, charm, and chaotic energy. It’s a comedic triumph for director Kate Bergstrom and the entire cast and crew. There’s even a clever use of audience participation at various points, providing even more enjoyment to this bold and simply fun adventure in Sherwood Forest. 

Matt Lytle, David Weynand
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ken Ludwig’s Sherwood: The Adventures of Robin Hood until April 13, 2025

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Sandwiches Become a Life Lesson in the Rep’s Funny, Insightful “Clyde’s”

Posted in Theatre on TV, tagged , , , , , on February 11, 2025| Leave a Comment »

Clyde’s
By Lynn Nottage
Directed by Josiah Davis
Repertory Theatre of St. Louis
February 7, 2025

Brendan Hickey, Essence Anisa Tyler, Alfredo Antillon, Ron Himes
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

 

Clyde’s, currently onstage at the Repertory Theatre of St. Louis, is one of those shows that may make you hungry, with all its focus on the craft of sandwich making, including artfully staged sequences that remind me of the pie-making scenes in the musical Waitress. This show by celebrated playwright Lynn Nottage is about more than just food, though, as its characters struggle to make sense of life after prison and deal with a hard driving boss who has some lessons of her own to learn from them. This vivid, often humorous and occasionally poignant story is brought to life by a great cast and the first-rate production values for which the Rep is known.

The sandwich artist in residence at Clyde’s truck stop is Montrellous (Ron Himes), who has become something of a Chef-guru to the younger line cooks he works with. He also tries his best to introduce the crusty owner Clyde (Phyllis Yvonne Stickney) to his sandwich-inspired enlightenments, but she consistently refuses to partake, in the sandwiches as well as the wisdom they influence. The rest of the staff–all formerly incarcerated and trying to make a new life–hang on Montrellous’s words while they get on with their jobs and try to keep up with Clyde’s demands and avoid her wrath. Single mother Letitia–or “Tish–is trying to manage her work schedule while taking care of her young daughter, and Rafael (Alfredo Antillon) tries to be her friend and possibly more. Meanwhile, Jason (Brendan D. Hickey) is a newcomer to the kitchen, just having been released and facing the suspicions and assumptions of his co-workers. Slowly but surely, we hear more of their stories as the group bonds over shared experiences, a common adversary, and of course, sandwiches. Meanwhile, Montrellous maintains his smooth demeanor while doling out life lessons and encouraging his pupils to look beyond the walls of the kitchen to see what goals they can attain in life, all the while continually trying to convince the cynical Clyde that there really is something to learn from the art of sandwich making.

The pace of this show is quick and deliberate, well-measured by director Josiah Davis and carried out by an impressive cast led by local legend Himes, who is superb as the guru-like Montrellous, with a strong presence and magnetic personality, adding credibility to his influence on the character’s younger co-workers. There’s also excellent work from Tyler as the determined Tish, Antillon as the amiable, ambitious Rafael, and Hickey as the initially guarded Jason. Stickney is also superb as the cranky, demanding, and insistently cynical Clyde, who persistently resists the appeal of the sandwiches and the promise of “more to this life” that they represent. The overall rapport that develops among the cast is credible as well, and there’s a believable balance between the humor and moments of drama. The production team has also consulted with representatives from Prison Performing Arts–LaWanda Jackson and Eric Satterfield–to add to the overall credibility of the presentation.

Technically, this production is as impressive as has come to be expected at the Rep, with a thoroughly realistic set by Jean Kim that ably evokes the environment of a busy truck stop kitchen. There’s also especially impressive work from lighting designer Christina Watanabe and sound designer Michael Costagliola in achieving a convincing balance between realism and the more fantastical sandwich-making sequences. There are also excellent costumes by Hayden Zelideth that suit the characters well and add to the overall vibe of the show.

Clyde’s runs at about 100 minutes with no intermission, and there are no dull moments. It’s a piece that manages to entertain and enlighten while presenting a realistic environment with a moments of poignancy and stylized, artistic whimsy. There’s a lot to learn from sandwiches, apparently, and this show teaches its lessons well.

Phyllis Yvonne Stickney, Essence Anisa Tyler, Brendan Hickey, Alfredo Antillon, Ron Himes
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Clyde’s until March 2, 2025

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Engaging Characters Spar with Humor, Insight in The Rep’s Fast-Moving “Athena”

Posted in St Louis Theatre, tagged , , , , , , , on January 22, 2025| Leave a Comment »

Athena
by Gracie Gardner
Directed by Nancy Bell
January 17, 2025

Jailyn Genyse, Isa Venere
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

Teenagers playing sports has become a prime topic for drama, or in the case of the Rep’s newest production in their Steve Woolf Studio Series, comedy-drama. Gracie Gardner’s Athena looks at ambitious young fencers and their world, including their hopes, dreams, fears, and contrasting personalities as they each strive for excellence and success. Featuring a strong cast, a realistic set, and impressive production values, this is an engaging character study that brings the audience into its world with well-choreographed fencing action to add to the show’s appeal.

The central character is Mary Wallace (Jailyn Genyse), a determined but insecure young fencer who is looking to qualify for the national championships in hopes of being recruited by a top college. Mary Wallace is studious, somewhat reserved, and kind of stickler for the rules. When she fences against a brash opponent who calls herself Athena (Isa Venere), she’s challenged to be bolder and fiercer in her approach toward fencing and toward life. Meanwhile, Athena deals with a difficult home situation and often seems to be using her own boldness to mask her own uncertainty. The two become training partners and, gradually, friends, as Athena introduces Mary Wallace to dance clubs and pushing societal boundaries, and Mary Wallace encourages Athena to be more considerate of others. Anxiety builds as the big competition approaches, but what will it bring for these two ambitious fencers and their relatively new friendship?

The performance space has been set up with a clever and deceptively simple set by Seth Howard that serves as both the training space and the competitive arena, as well as other areas around the New York City area as needed. There’s also excellent lighting by Jayson M. Lawshee and sound by Jimmy Bernatowicz that works to enhance the overall competitive fencing atmosphere, along with realistic costumes by Renee Garcia. The pacing is brisk throughout the play’s short runtime, with dynamic fencing sequences  and a realistic athletic atmosphere. Kudos to fencing consultant Annamaria Lu for contributing to this overall air of authenticity.

The characters are at the center of this show, and particularly the developing relationship between Mary Wallace and Athena, made all the more believable and entertaining by the excellent performers in these roles. Genyse brings an amiable, relatable quality to Mary Wallace, making her easy to cheer for, and Venere is an ideal foil (pun intended) and a strong presence as Athena, whose brashness hides a vulnerability that Venere makes apparent. The back-and-forth sparring between these two, both in their fencing and in their budding  friendship, is what makes this show so fun to watch, with an approachable humorous tone that’s  balanced out with credible, poignant dramatic moments. There’s also a fine turn from Carmen Cecilia Retzer, making a memorable impression in a smaller role as Jamie, another fencer Mary Wallace works with. 

The Steve Woolf Studio Series is a great way for the Rep to showcase “smaller” shows with the company’s usual technical excellence and memorable performances. Athena is a prime example of a show that works well in this smaller space, featuring action and energy, but especially on character and first-rate performances. In some ways it reminds me of another play the Rep did in this space a few years ago, the youth soccer-focused The Wolves.  Athena is a play about sports, but even more so, it’s about the characters, their goals and their affects on one another. Even if you don’t know much about competitive fencing (there’s an information card included in the program), it’s a fascinating show to see. 

Jailyn Genyse, Isa Venere
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre or St. Louis is presenting Athena as part of their Steve Woolf Studio Series until February 9, 2025

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“Million Dollar Quartet Christmas” is a Well-Cast, Tuneful Celebration from the Rep and STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , on December 10, 2024| Leave a Comment »

Million Dollar Quartet Christmas
Book by Colin Escott
Directed by Keith Andrews
Repertory Theatre of St. Louis and STAGES St. Louis
December 6 ,2024

Cast of Million Dollar Quartet Christmas
Photo by Jon Gitchoff
Repertory Theatre of St. Louis, STAGES St. Louis

Both the Rep and STAGES St. Louis have presented the musical Million Dollar Quartet before, with STAGES’ version occurring just last season. Now, the two prominent local companies are teaming up for the first time to present the holiday-themed sequel, Million Dollar Quartet Christmas, with most of the cast from last year’s STAGES show on the Rep’s main stage at  the Loretto-Hilton center for a well-cast evening of music, reflection, and yuletide cheer as the cast of (mostly) well-known characters continue their jam session with a series of popular songs and holiday favorites.

Since the “Million Dollar Quartet” of Elvis Presley (Sean Buckley), Johnny Casy (Scott Moreau), Carl Perkins (Jeremy Sevelovitz), and Jerry Lee Lewis (Brady Wease) were only brought together by producer Sam Phillips (Jeff Cummings) at the Sun Records studio in Memphis on one occasion, I wondered how a sequel would work. What book writer Colin Escott has done, however, is just to extend that “jam session” on the same night, taking place after the four posed for the famous photo. It’s December, and Christmas is approaching, so I guess it makes sense that the group would add some carols and other holiday tunes to their repertoire such as “Rockin’ Around the Christmas Tree”, “Go Tell It on the Mountain” and “Blue Christmas”, along with a few other hits of the day including Elvis’s “Don’t Be Cruel” and well known songs by other artists including “Que Sera, Sera”, “Hot Diggity Dog” and more. It isn’t purely a concert, though, and there is a bit of  a plot, if you can call it that, as Phillips continues to express his disappointment at the artists leaving Sun Records for more glamorous contracts elsewhere, the artists stress over family commitments and other developments,  and the role of Elvis’s fictional girlfriend, Dyanne (Shelby Ringdahl) has been expanded in a way that works surprisingly well, as she serves as more a catalyst for some of the events this time as well as having some memorable vocal moments with songs like “Santa Baby” and the aforementioned “Que Sera, Sera”. 

It’s a fun musical experience, with a great cast returning and turning in stellar performances all around, joined by newcomer Buckley as an appropriately charismatic, vocally strong Elvis who also moves well. Sevelovitz and Zayas, as Carl and Jay Perkins, are standouts again as they were last year at STAGES, and Wease has all the electric energy that the role of Lewis requires, along with great piano skills. Moreau is solid as Cash, as well, and Ringdahl gets an impressive showcase in the slightly expanded role of Dyanne. Cummings as Phillips is also strong, although the script can make him occasionally come across as overly whiny, and there’s also strong support again from musical director Dave Sonneborn as percussionist W.S. “Fluke” Holland. This is a fun little story, but mostly it’s a jam session, and it’s all about the music, which is played very, very well, and with an additional dose of holiday spirit this time.

The set by Adam Koch is appropriately authentic-seeming, and there’s also excellent lighting by Sean M. Savoie and sound by Beef Gratz. The costumes by Brad Musgrove are suitably colorful and authentic to the characters who wear them. The late 1950’s atmosphere is well-maintained, along with the extra Christmasy elements that make this a holiday show.

Overall, Million Dollar Quartet Christmas is just about as entertaining as the first addition, coming across as something of an extended, holiday-themed encore. It’s great to see the impressive cast returning, with an excellent new addition in Buckley. What’s especially encouraging, though, is the collaborative effort of the Rep and STAGES, and I hope this won’t be the last time we see these excellent companies working together.

Brady Wease, Scott Moreau, Jeremy Sevelovitz, Shelby Ringdahl, Sean Buckley, Chuck Zayas
Photo by Jon Gitchoff
Repertory of St. Louis, STAGES St. Louis

The Repertory Theatre of St. Louis and STAGES St. Louis are presenting Million Dollar Quartet Christmas  at the Loretto-Hilton Center until December 22, 2024

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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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