Feeds:
Posts
Comments

Posts Tagged ‘repertory theatre of st louis’

Admissions
by Joshua Harmon
Directed by Steven Woolf
Repertory Theatre of St. Louis, Studio
October 28, 2018

Thom Niemann, R. Ward Duffy, Henny Russell Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

The Rep’s first Studio production of the season is Joshua Harmon’s Admissions, which combines comedy and drama in a highly thought-provoking combination that looks at the highly charged topics of race and privilege particularly in the field of academics. It looks at an issue many families deal with–education for their children–and explores it through the eyes of a prep school administrator in Connecticut and her family. It’s also a critical look at whiteness and white privilege that’s sure to make its audience think.

In the interview with playwright Joshua Harmon in the program, he said he wanted to write a play where the characters’ whiteness is on clear display, in terms of how they live, think, and make decisions regarding race. It’s particularly focusing on white liberals, and a family of academics that has a degree of privilege that’s so ingrained they don’t even seem to notice it–not really, anyway, even if they say they do, and when anyone else tries to point it out, that’s when things get especially uncomfortable. The central figure is Sherri Rosen-Mason (Henny Russell), the admissions officer for a prestigious Connecticut prep school. She’s spent most of her career in the effort to increase the mostly-white school’s percentage of non-white students. Her husband, Bill (R. Ward Duffy) is the head of the school, and together they take pride in their diversity efforts. Their son, Charlie (Thom Niemann), is a high-achieving student at the school and has high hopes of attending Yale. Essentially, the plot shows how this family is presented with a series of dilemmas that challenge their perceptions of themselves and others, calling into question exactly how “progressive” they really are, and how much they will rely on their own privilege when they know it will help their own son in the quest to go to the “right” kind of college. The issue of appearance and numbers vs. people comes up a lot, particularly in situations involving Sherri’s friend Ginnie (Kate Udall), who is married to a teacher at the school who is black, and whose son–Charlie’s best friend–is also applying to Yale. There’s also a mostly comic subplot in which Sherri’s colleague Roberta (Barbara Kingsley) is trying to produce a new academic catalogue for the school, but Sherri wants to make sure it encourages diversity.

This is a show that raises several important issues and takes a hard look at privilege and self-awareness, or lack thereof. It raises a lot of questions but doesn’t exactly answer them, at least not completely. Mostly, this is a look at issues that seriously need to be talked about, portrayed by characters who don’t always know how to respond to those questions. These characters are relatable to a point, and I think a large point of the story is to have us–and particularly, white audience members–asking questions of ourselves–how much do we see our own privilege? Do we see racism or biases within ourselves? If we had the chance to give up some of our privilege to truly help someone else, would we? Or would we encourage our loved ones to do so? Do we see how we can come across to those around us? How important is “elite” education? Those are only some of the questions raised by this play, and they’re embodied by characters that are often relatable and sometimes, but not always, likable.

The scenic design is perfectly realized, recreating the world of an upper middle class New England family and Sherri’s office at the prestigious prep school that forms the center of this family’s world. Bill Clarke’s set is detailed and specific, and Lou Bird’s costumes suit the characters well. There’s also excellent evocative lighting by Nathan W. Schuer and sound by Rusty Wandall. All these aspects work together to create the world these characters inhabit, which is at once a realistic representation and a stereotype.

The small cast does an excellent job here, bringing their characters to life credibly, navigating the play’s sometimes witty, sometimes sharply comic, sometimes dramatic tone well. Russell has perhaps the most difficult job as Sherri, the well-meaning but sometimes clueless center of the production. She and the equally strong Duffy–amiable but also clueless in his own way–anchor the production. Niemann is also strong, giving a sometimes obtuse, sometimes sensitive, ultimately engaging performance as the sometimes entitled, sometimes confused Charlie, and Udall also makes a strong impression as the initially upbeat but increasingly conflicted Ginnie. Kingsley, as the perpetually exasperated Roberta, gives the most obviously comic performance and provides a great deal of energy and personality to her scenes.

Admissions is a play that should have audiences talking. There are some uncomfortable concepts, and truths, here, and a challenge in the sometimes deceptively lighter tone. There are also awkward moments, such as when the audience enthusiastically applauds one speech, only to have the character immediately chastised for the same speech. I’m not sure this play does everything the playwright says he wants it to do, but what it does best is raise questions. It’s a strong start to the Studio season at the Rep.

Henny Russell, Barbara Kingsley
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Admissions in the Studio until November 11, 2018.

Read Full Post »

A Doll’s House, Part 2
by Lucas Hnath
Directed by Timothy Near
Repertory Theatre of St. Louis
October 12, 2018

Caralyn Kozlowski, Michael James Reed
Photo by Peter Wochniak
Repertory Theatre of St. Louis

What would happen if Nora Helmer came back?  Would she even try to come back? And if so, when, and why? Those are questions that have been asked countless times since Henrik Ibsen’s classic and initially controversial play, A Doll’s House, first premiered in 1879. Well, now playwright Lucas Hnath has provided his own answers in the succinctly named A Doll’s House, Part 2. Produced on Broadway to critical acclaim in 2017, it’s now being produced here at the Rep, in a production that’s sure to provoke more questions and a lot of thought.

This play features four characters, all seen or mentioned in Ibsen’s original play. It’s 15 years later, and the once well-appointed Helmer home now shows signs of disarray, with chairs heaped in a corner, fading paint, and obvious spaces on the wall where paintings were once on display. The play begins with a knock at the door, which is eventually answered by the Helmers’ longtime housekeeper and nanny Anne Marie (Tina Johnson), who opens the door to find the long-absent Nora (Caryalyn Kozlowski) returned at long last, elegantly dressed and carrying herself with an initially confident, assertive air. Playwright Hnath has given her a believable backstory and a reason to return which I won’t go into here other than to say it makes perfect sense considering the characters, especially as they are presented here. She’s back in town to see Torvald (Michael James Reed), the husband she left in shock so many years before, with an urgent request that he’s reluctant to fulfill for his own personal reasons. What ensues is essentially a series of conversations, between Nora and Anne Marie, between Nora and Torvald, and also between Nora and Emmy (Andrea Abello), Nora’s youngest child and only daughter who was a small child when Nora left but is now a young adult. Things have changed lot since Nora left, both for her and for the family she left behind.

The characters and the issues presented are richly portrayed, in a sharp, confrontational and often darkly comic tone that brings out the contrast in the characters, their situations, and their conflicting views. Nora is a writer and activist now, with strong opinions about her own role in society and that of women in general, and the institution of marriage in particular. Even thought her portrayal in the play affirms her choice to leave, Hnath is also not shy in portraying the sometimes devastating consequences of her actions on those she left behind, as well as the sharp contrast between her own idealistic views of life and those of the young, newly engaged and also idealistic (in her own way) Emmy. The confrontations are personal as well as ideological, and as is to be expected, her scenes with Torvald are the most emotionally charged. This is a play of big ideas, strong personalities, and struggles to find an individual voice in the midst of strictly defined societal roles and expectations. Like its famous predecessor, this play is thought-provoking, to say the least, taking the issues from Ibsen’s play and casting them in the light of a more contemporary perspective, even though the setting remains in the 19th Century period.

There’s a great cast here, led by the dynamic, stage-commanding performance of Kozlowski as the determined, highly idealistic Nora. This is a woman who knows what she wants, but also struggles with the idea that not everyone wants what she wants. The always excellent Reed is also strong as a particularly stubborn Torvald, who is still nursing his old wounds from Nora’s departure and still seems confused and bewildered by her, for the most part. The scenes between these two are a dynamic highlight of the production. Abello is also memorable as Emmy, who although she is more traditionally-minded than her mother, in her own way is just as idealistic and stubborn as Nora. There’s also a great performance from Johnson as the loyal but exasperated Anne Marie, who is devoted to the family and still struggles to make sense of Nora’s departure as well as her return.

Director Timothy Near’s staging is brisk and physical, making the most of the actors’ energy and chemistry, as well as Scott C. Neale’s vivid, evocative set. This is a home in disrepair, sparsely furnished and seeming appropriately incomplete. The costumes by Victoria Livingston-Hall are meticulously detailed, reflecting the characters with precision, from the confrontationally elegant Nora to the more strait-laced Torvald to the older, weary Anne Marie to the youthful, optimistic Emmy. There’s also excellent work from lighting designer Ann G. Wrightson and sound designer Rusty Wandall in setting and maintaining the mood and tone of the production.

This was a highly talked-about play when it debuted on Broadway, which is fitting considering it’s a sequel to a play that’s been talked about, thought about, and written about for almost 140 years. That time difference adds a lot of perspective to this piece, revisiting the original setting but with a tone change that provides a contemporary flair. With the Rep’s first-rate production values, energetic staging, and strong cast, A Doll’s House, Part 2 is sure to get audiences thinking, and talking.

Caralyn Kozlowski, Andrea Abello
Photo by Peter Wochniak
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting A Doll’s House, Part 2 until November 4, 2018

 

Read Full Post »

Born Yesterday
by Garson Kanin
Directed by Pamela Hunt
Repertory Theatre of St. Louis
March 16, 2018

Ruth Pferdehirt, Aaron Bartz
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Born Yesterday is a classic comedy that made a star of Judy Holliday, on stage in 1946 and on screen in 1950. The sharp, old-school screwball comedy is a potential star vehicle for whoever plays the role of Billie Dawn, the former showgirl who starts out playing into the “dumb blonde” stereotype but turns around to subvert it. The Rep, finishing out their season with this production, has found an ideal star for this role in gifted comic performer Ruth Pferdehirt. She’s not alone in this production, however, shining in a top-notch cast with the Rep’s well-known stellar production values.

The story takes place in in a luxurious suite in an upscale Washington, DC  hotel in the late 1940s, where brash self-made millionaire and “junk man” Harry Brock (Andy Prosky) has come to exert his influence on some legislation that will benefit him and his business. He’s brought along his lawyer and chief advisor Ed Devery (Ted Deasy) to help him connect with a senator (Kurt Zischke) who is up for some financial “encouragement”. Harry has also brought along his longtime girlfriend and former chorus girl Billie (Pferdehirt), whose lack of manners and education embarrasss the equally uneducated Harry, who is trying to impress the society types in DC, including the senator and his wife (Gina Daniels). Rather than send Billie home, the domineering Harry enlists an idealistic young journalist, Paul Verrall (Aaron Bartz) to tutor Billie in some of the basics of government and society. The initially reluctant Billie and Paul soon disscover a mutual attraction, as Billie reveals that she’s a lot brighter than Harry, or anyone in his entourage, had expected. Soon, Billie discovers that all those papers Harry has been making her sign aren’t quite as innocuous as she had been led to believe, and Paul, in addition to his tutoring, also encourages her to assert her independence and stand up to the shady, increasingly volatile and violent Harry. All this is played out to the tune of Garson Kanin’s witty, incisive script that speaks a lot to today’s political climate as well as that of its day.

The powerhouse performance here is Pferdehirt in a wonderfully layered and also delightfully comic tour de force as Billie. Her increasing boldness, as well as her dawning sense of awareness of herself and the world around her, is magnificiently portrayed, with a strong stage presence and over-the-top but still relatable personality. She stuggles a little bit with consistency in terms of her New York accent early on, but that smooths out over the course of the play. She has great chemistry with the also excellent Prosky as the boorish, ruthlessly ambitious Harry, and with Bartz, who gives a charming performance as Paul. There’s also excellent support from the rest of the cast, including Deasy as the increasingly conflicted Ed; Randy Donaldson as Harry’s cousin and all-purpose assistant Eddie; Zischke and Daniels as Senator and Mrs. Hedges; Michelle Hand as the initially surly maid Helen; and also CeCe Hll, Cassandra Lopez, Tom Wethington, Michael Cassidy Flynn, Maison Kelly, and Ryan Lawson-Maeske in various ensemble roles. Director Pamela Hunt has staged the show in a fast-moving way that highlights the strength of the comedy and the characters, as well.

Visually, the show looks great. The 1940s high-society look has been ideally achieved in James Morgan’s sumptously appointed set. Lou Bird’s costumes are also stylish and period-appropriate, with a succession of colorful outfits for Billie and well-tailored suits for the men, as well as appropriate outfits for the various hotel staff members. There’s also excellent work from lighting designer Mary Jo Dondlinger and sound designer Rusty Wandall, helping to set the overall tone and mood of this sharp, bright and still thoughtful comedy.

This Born Yesterday is a delightful production. It’s bold, it’s funny, it’s surprisingly timely, and it has a great cast, led by the truly stellar performance of Pferdehirt as Billie. It’s a memorable way to close out a great season at the Rep.

Andy Prosky, Ruth Pferdehirt
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Born Yesterday until April 8, 2018.

Read Full Post »

The latest project at the Rep Studio is probably the most difficult production I’ve ever had to review. In fact, I’m tempted to just write: “this is really interesting and non-tradtional–go see it!” When audiences are brought into the studio space, they’re given a program for an art exhibition, not a play. Still, they’ve billed it as a play, and the Rep is a theatre company. Although the initial setup isn’t usual, it’s fairly obvious there’s something theatrical going on here. Still, because Caught depends so much on form, and surprise, I’m not going to describe it in detail. It’s not a vague show in any sense, but the structure of it essentially requires a somewhat vague review.

So, go see it! Enjoy!

Actually, I have to describe it a little. Just be warned that everything is not exactly as it seems, ever, in this production. We first get an art show, and a lecture by a Chinese artist, and then more situations that end up differently than how they start out. There are actors involved, and I have to credit them because of their excellent performances with comic and dramatic twists, but I’m only listing their names here: Kenneth Lee, Rachel Fenton, Jeffrey Cummings, and Rachel Lin. There are also excellent production values–an impressivly detailed, evolving set by Robert Mark Morgan, well-suited costumes by Felia K. Davenport, striking atmospheric lighting by Ann G. Wrightson, and strong sound design by Rusty Wandall. All the elements work together to make this a unique, challenging work of theatre that addresses timely issues of truth in media, as well as the very concept of truth itself. In fact, you’re likely to leave the space not only wondering what you just saw, but questioning the very idea of truth in communication.

That’s it, really. That’s about all I can write without spoiling too much. The overall experience of this production and the unfolding nature of it is so essential to its purpose, that telling too much could mar that experience. So, what I’m back to is simply–“this is really interesting and non-traditional. Go see it!” Especially if you like experimental theatre, you won’t regret it

By the way, you get the “real” program at the end of the show. And in keeping with that structure, I’m ending with this:

Caught
by Christopher Chen
Directed by Seth Gordon
Repertory Theatre of St. Louis, Studio
March 9, 2018 (Running Until March 25, 2018)

Kenneth Lee Photo by Peter Wochniak Repertory Theatre of St. Louis

Read Full Post »

The Marvelous Wonderettes
Written and Created by Roger Bean
Directed by Choreographed by Melissa Rain Anderson
Repertory Theatre of St. Louis
January 5, 2017

Leanne Smith, Chiara Trentalange, Morgan Kirner, Iris Beaumier
Photo by Eric Woolsey

Repertory Theatre of St. Louis

The Rep is starting out 2018 with an upbeat, nostalgic tunefest. The Marvelous Wonderettes is something of a blend between a jukebox musical and a revue, featuring many classic pop hits from the 1950’s and 60’s. There’s not a lot of plot here, and what is there tends to be somewhat silly, but still, there’s a strong cast here and the overall tone is “fun”.

The “story”, or what there is of it, takes place in two acts, set ten years apart, in 1958 and 1968. The “Marvelous Wonderettes” of the title are a group of high school classmates performing at their senior prom.  In the first act, we meet the perky, slightly ditzy Suzy (Leanne Smith), the vain Cindy Lou (Chiara Trentalange), the brash Betty Jean (Iris Beaumier), and the assertive Missy (Morgan Kirner), who are all friends but have their conflicts and personal issues that are reflected in the songs they sing. There’s a little bit of an effort at audience participation (asking the audience to vote for Prom Queen, for instance), but for the most part this is something like a concert with a story. The first act highlights songs from the 50’s, such as “Mr. Sandman”, “Lollipop”, “Secret Love”, “Stupid Cupid” and more. The second act, taking place in the same high school gym for the classmates’ 10 year reunion, features 60’s hits such as “You Don’t Own Me”, “I Only Want to Be With You”, “It’s My Party”, and “Son of a Preacher Man”, among others. Through the course of their singing, we get to know the characters’ stories and see how their relationships with one another develop, and it becomes obvious that some of the off-stage characters mentioned are named to fit the lyrics of some of the songs. It’s an energetic show, with an overall comic tone, and it’s a lot of fun despite being obviously contrived to fit the stories of the songs.

The performers here are excellent, bringing a lot of energy, emotion, humor, and chemistry to this show. The biggest voices belong to Trentalange as the sometimes overconfident Cindy Lou, and Beaumier as the alternately confrontational and insecure Betty Jean. Trentalange also stands out for being the character who changes the most between the two acts, and for making this change believable. There are also strong comic performances from Kirner as the determined Missy, and by Smith as the sweet but longsuffering Suzy. The friendships and conflicts between the characters are made credible by the strong cohesive chemistry here, and the vocal harmonies on the songs are also strong.

The 50’s and 60’s look and sound are achieved here with colorful style by means of Adam Koch’s “high school gym” unit set and Dorothy Marshall Englis’s colorful period costumes. Peter E. Sargent’s lighting adds to the mood in various scenes as well, and Rusty Wandall’s sound is crisp and clear. There’s some fun staging of the various musical numbers, as well, choreographed by director Melissa Rain Anderson. The songs, arranged by Brian William Baker and orchestrated by Michael Borth, are appropriately catchy with an authentic era-specific sound as well as being convincingly performed by a group of high school friends.

Overall, The Marvelous Wonderettes is a fun show. It’s definitely on the “light entertainment” end of the spectrum, but it’s very well done light entertainment. With a lot of energy, personality, and a succession of well-known classic pop songs, it’s an entertaining start to the new year at the Rep.

Iris Beaumier, Morgan Kirner, Chiara Trentalange, Leanne Smith
Photo by Eric Woolsey
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Marvelous Wonderettes until January 28, 2017

Read Full Post »

Miss Bennet: Christmas at Pemberley
by Lauren Gunderson and Margot Melcon
Directed by Jenn Thompson
Repertory Theatre of St. Louis
December 1, 2017

Kim Wong, Justine Salata, Austen Danielle Bohmer, Harveen Sandhu
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Jane Austen sequels and adaptations are nothing new. From modernizations like The Lizzie Bennet Diaries to mysteries like Death Comes to Pemberley to the countless fan stories on a multitude of sites online, writers like to get creative with Austen’s characters, with results ranging from puzzling to delightful. The latest production from the Rep, the funny and festive Miss Bennet: Christmas at Pemberley is solidly on the “delightful” end of the spectrum, with an impressive script, excellent production values and a top-notch cast.

As the title suggests, the story finds the familiar characters from Austen’s most famous novel, Pride and Prejudice, celebrating Christmas at the home of the now happily married Elizabeth (Harveen Sandhu) and Fitzwilliam Darcy (Rhett Guter). While Elizabeth, the main character of Pride and Prejudice, and Darcy are prominently featured, as are sisters Jane (Kim Wong) and Lydia (Austen Danielle Bohmer), the main focus of story is on the often neglected middle sister Mary (Justine Salata), portrayed here as earnest, socially awkward, and unsure of her own future as two of her sisters have married happily, one insists she’s happy in her marriage although evidence suggests otherwise, and another (the unseen Kitty) is happily spending the holiday with her aunt and uncle in London. Mary is determined to make the most of her time at Pemberley despite feeling overshadowed by her elder sisters and their husbands, and her sisters soon learn there is more to her than than had previously acknowledged. Also invited for the festivities is Lord Arthur de Bourgh (Miles G. Townsend), the scholarly and socially awkward nephew and surprising heir of the recently deceased Lady Catherine. Arthur, who is most at home among his books, isn’t comfortable with his new noble title and his unexpected inheritance of his late aunt’s home, but he’s intrigued by the Darcys and soon hits it off with Mary, as the two bond over mutual interests and soon have to deal with feelings neither of them had expected. But more surprises are in store as well, with some unpleasant news brought by Arthur’s imperious cousin, the late Lady Catherine’s daughter Anne de Bourgh (Victoria Frings).

As much as I love the source material, this show takes me as something of a surprise especially in terms of its sparkling wit and humor. I expected an interesting show, but I didn’t expect to laugh this much. I’m also impressed by how true to the spirit of Austen this story is, and how well-realized the characters are. The familiar characters of Elizabeth, Darcy, Jane and Mr. Bingley (Peterson Townsend), are here, as are Mary and Lydia, but the playwrights manage to do a great job of making them recognizable as Austen’s characters, but also of expanding on them, especially in the cases of Mary and the surprisingly nuanced Lydia. Mary has become a likable, relatable lead character here especially, delightfully played by Salata with a steely determination and a deliciously dry wit. She’s well-matched by Jackson’s highly physical, amiably awkward portrayal of Mary’s unlikely suitor Arthur de Bourgh. Their chemistry is delightful and, shall I say, adorkable. The rest of the cast is strong as well, with Sandhu’s warm, encouraging Elizabeth and Guter’s devoted Darcy, and Bohmer’s enigmatic Lydia the real standouts. What’s struck me especially about this production is the attention to the relationship of the sisters, and all four performers do well to portray a believable sisterly bond.  Ensemble members Max Bahneman, Johnny Briseno, and Molly Burris also contribute well to the story as the Pemberley household staff doubling as stagehands.

In addition to being wonderfully charming and witty, this production also looks wonderful. Wilson Chin’s sumtuously detailed set effectively brings the tastefully opulent Pemberley to the stage, and David Toser’s detailed period costumes add to the charm. It’s a Regency Christmas in all its festive glory, featuring Elizabeth’s new project, an unusual German custom called a “Christmas Tree”. There’s also excellent work from lighting designer Philip S. Rosenberg and sound designer Philip S. Rosenberg.

This is such a fun show. With an outstanding lead performance and a first-rate supporting cast, along with stunning production values and and overall Austen-like atmosphere coupled with the festivity of the holiday season, this production is simply a winner. It’s a real treat for the holiday season. Go see it!

Justine Salata, Miles G. Jackson
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Miss Bennet: Christmas at Pemberley until December 24, 2017.

 

 

 

Read Full Post »

Heisenberg
by Simon Stephens
Directed by Steven Woolf
Repertory Theatre of St.Louis, Studio
October 27, 2017

Joneal Joplin, Susan Louise O’Connor
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is opening its Studio season with a much talked-about two-character play called Heisenberg. It’s a short play, running at just under an hour and a half, and the focus is much more on character than on the plot. It’s a clever, somewhat unpredictable script that serves as a great showcase for its two excellent lead performers.

The title of this play isn’t referenced in the story itself, but it’s one a lot of people will be familiar with, even if they aren’t well-versed in physics. Although associated with a particular scientific concept, one doesn’t really have to know anything about physics to get the gist of this title. Essentially, the first word most people associate with the name Heisenberg is “uncertainty”, and in this play, that’s the general idea. Life is uncertain, and people are uncertain, and we don’t even know how much time we have with the people who come into our lives. The story follows the quirky relationship of two very different people, the 40-something American expat Georgie (Susan Louise O’Connor) and 75-year-old Irish-born butcher Alex (Joneal Joplin), who meet at a train station in London and eventually become more involved in one another’s lives, due largely to Georgie’s persistence. Over the course of their relatively short acquaintance (six weeks, according to director Steven Woolf’s note in the program), there are lies, misrepresentations, revelations, sudden decisions, and other surprises as we learn more about these two and the qualities that draw them together. There isn’t much else to say that doesn’t spoil too much, but the real focus here is on the relationship, as these two characters grow closer and show how their relationship and their interactions with the world around them and other important people in their lives shapes their present decisions, relationship, and character.

The set here is minimal. Designed by Peter and Margery Spack, it consists mainly of two long tables and some chairs, with video screens to help suggest the setting. Nathan W. Scheuer’s lighting and Rusty Wandall’s sound also contribute to the overall atmosphere here, which is more of a suggestion of settings than a concrete representation. Marci Franklin’s costumes are well-suited to the characters and their well-defined personalities.

And it’s those personalities that are the chief focus of this show, boldly embodied by the superb actors who bring them to life. Joplin does a great job of presenting Alex as a well-rounded character even early on, when he doesn’t speak as much and is largely reacting to Georgie. There’s so much communicated in Joplin’s mere looks and reactions, and as we find out more about him as the play progresses, Joplin continues to make these revelations fascinating, and his chemistry with O’Connor is wonderful. O’Connor is equally superb as the more outwardly expressive Georgie, although we soon learn that although she’s not as reserved as Alex, she has her own secrets. The contrast and dynamic between these two characters is really what makes the play so fascinating, and the performers here make the most of that relationship.

The play is fairly simple, plot-wise, even though its driven by a series of surprises, and the ending is somewhat abrupt. The point, I suppose, is that we never really know what to expect from life, so we might as well make the most of it while we are here. Here, that lesson is exemplified by two memorable characters in this witty, poignant play. This production, with it’s terrific leads and the assured direction of Steven Woolf, carries its message well. Life may be uncertain, but this play is certainly worth seeing.

Joneal Joplin, Susan Louise O’Connor
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Heisenberg in its Studio Theatre until November 12, 2017.

Read Full Post »

Older Posts »