Posts Tagged ‘review’

New Line’s Fun “Forum” Highlights Humor, Excellent Singing

Posted in St Louis Theatre, tagged , , , , , , , , , on June 7, 2023| Leave a Comment »

A Funny Thing Happened on the Way to the Forum
Music and Lyrics by Stephen Sondheim
Book by Burt Shevelove and Larry Gelbart
Based on the plays of Plautus
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kernan
New Line Theatre
June 3, 2023

Kent Coffel (center) and Cast of A Funny Thing Happened on the Way to the Forum
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s latest production is of a well-known show, featuring a score by a legendary composer and a book by two veteran comedy writers. A Funny Thing Happened on the Way to the Forum, based on the works of ancient Roman playwright Plautus, was a hit in the 1960s and has been performed in various venues since then. It does have its dated elements, but at New Line, as usual, there are some new perspectives that emerge. For the most part, this is a show that revels in its humor, and at New Line, the focus is on the strong singing of Stephen Sondheim’s memorable score.

The story is framed as a performance by a dramatic troupe that decides, for this day’s performance, they will be staging a comedy. What results is a slapstick farce set in Roman times, centering on Pseudolus (Kent Coffel), who is a slave in one of the three houses featured in the story. He serves Hero (Ian McCreary), the son of Senex (Robert Doyle), who is heading out of town with his controlling wife Domina (Ann Hier Brown) to visit her family. While they are away, Pseudolus works on a plan to gain his freedom after he notices that Hero has fallen for a young woman he’s seen in the window of the neighboring house, which is essentially a brothel operated by Marcus Lycus (Jason Blackburn). Soon, they find out that the object of Hero’s ardor, the virginal Philia (Sarah Wilkinson), has been purchased sight unseen by the narcissistic general Miles Gloriosus (Danny Brown), who is due to arrive soon to make her his bride. Pseudolus’s plan gets more complicated as the story goes on, much to the frustration of Senex’s chief slave Hysterium (Chris Moore), who reluctantly gets brought into the scheme. Meanwhile, the elderly Erroneus (Gary Cox), who lives in the other neighboring house, returns to town after a long absence, still looking for his long-lost children who were captured by pirates years previously. How all these stories fit together is the source of much of the comedy, which is portrayed here by an enthusiastic cast who are all in excellent voice. 

I had seen this show once before, at the Muny a few years ago. Obviously, a small company like New Line isn’t going to have the elaborate production values or huge stage of the Muny, but New Line has become adept at scaling shows down for its venue, as well as bringing out nuances in stories that bigger productions can gloss over. You could say that there isn’t much room for nuance in a show like Forum, with its broad, bawdy comedy and plot that relies on old standard devices like mistaken identity and mixed-up romance, but while it’s still a broad farce, I found myself looking differently at some of the characters here, such as Domina, who comes across here much better than her lecherous husband, Senex. The dated features of the story are here, with the women being the focus of the jokes much of the time, but the overall silliness here takes precedence, for the most part.

In terms of performances, the cast is especially strong vocally, as is usual for New Line. As for comic timing, some are better than others, and there are moments when the jokes don’t land as they should, but for the most part, it’s a very funny show. Coffel as Pseudolus is ideally cast, with a strong voice and great stage presence and comic ability. Moore as Hysterium also has some memorable comic moments, as do Danny Brown as the self-admiring Miles Gloriosus, and Ann Hier Brown as the domineering but lovesick Domina. McCreary and Wilkinson are well-matched as the wide-eyed lovers, Hero and Philia. There’s also a trio of “Proteans” for an ensemble (Nathan Hakenwerth, Brittany Kohl Hester, and Aarin Kamphoefner) who all play various roles and seem to be having a great time. 

The look of the production is lively and vibrant, with a brightly painted, cartoonish set by Dr. Rob Lippert, and well-styled, colorful costumes by Eileen Engel that help to set the whimsical Roman tone of the show. There’s also good work on lighting by Matt Stuckel and music direction from Joe Simpson, with a strong onstage band conducted by keyboardist Matt Kauzlarich. 

A Funny Thing Happened on the Way to the Forum is an unapologetic comedy that revels in its silliness. Although it’s based on plays from ancient Rome, the overall tone has a 1960s comedy vibe. New Line’s production is a lot of fun, with its small scale again working in its favor. It’s an enjoyable production especially for fans of Stephen Sondheim, goofy comedy, and great singing. 

Sarah Wilkinson, Ian McCreary
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting A Funny Thing Happened on the Way to the Forum at the Marcelle Theatre until June 24, 2023

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A Vibrant, Melodic “Twelfth Night” from St. Louis Shakespeare Festival

Posted in St Louis Theatre, tagged , , , , , on June 7, 2023| Leave a Comment »

Twelfth Night
by William Shakespeare
Directed by Lisa Portes
St. Louis Shakespeare Festival
June 2, 2023

Clave Sol (band) led by Philip Gomez, Esteban Andres Cruz, Cassidy Flynn, Alisha Espinoza, Ricki Franklin
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

I’ve said it before, and I’ll say it again–I love how versatile Shakespeare’s plays are in terms of staging. Their being in the public domain gives directors much freedom in terms of how to present the plays, and while I’ve seen many great stagings that are more on the “traditional” side, I love modern dress presentations and re-imaginings, because I think that these versions can do a lot to help modern audiences relate to Shakespeare’s stories and characters, as well as bringing the meaning of his dialogue to life in a fresh, contemporary way. St. Louis Shakespeare Festivals latest production of the comedy Twelfth Night in Forest Park is an excellent example of how this more modern approach can work so remarkably well. 

The whole vibe of this piece is fantastic. The traditional setting has given way to a modern Miami-inspired look and feel, with lots of excellent Latin music arranged by music director and sound designer David R. Molina and played by the terrific onstage band, Clave Sol, led by Phil Gomez. Also featured are the excellent vocals of Esteban Andres Cruz, who plays Feste, the “fool” who is more of a minstrel, really. The story is the familiar one, of a shipwreck that separates twins Viola (Gabriela Saker) and Sebastian (Avi Roque) and the mixed-up romances involving Duke Orsino (Felipe Carrasco) and Olivia (Jasmine Cheri Rush); along with more hijinks in the form of the plotting by Olivia’s hard-partying cousin Toby, called Dame Toby here (Ricki Franklin), along another would-be suitor of Olivia’s, Sir Andrew Aguecheek (Cassidy Flynn), and Olivia’s assistant Maria (Alisha Espinosa), who play a trick on Olivia’s stuffy security man Malvolio (Ryan Garbayo). The comedy is fast-paced and fun, and the setting, based in the largely Cuban-American culture of Miami, works especially well here.

The look, style, and tone of the production is excellent, from Regina García’s stylish set to the vibrant, eye-catching costumes by Danielle Nieves, to John Wylie’s striking lighting design. The pacing is quick and energetic, and the excellent music provides an ideal mood to the proceedings. 

The performances are top-notch, led by the engaging Saker as an appropriately bewildered but strong-willed Viola. Her scenes with the equally strong Rush as the haughty Olivia and Carrasco as the determined Orsino are highlights. There are also delightful comic performances from Franklin and Flynn as the scheming pair of partying pals, Dame Toby and Andrew Aguecheek, along with memorable support from Espinosa as Maria, and a marvelous turn by Garbayo as the hilariously duped Malvolio. There’s a strong cast all around, providing a strong sense of ensemble chemistry that adds to the overall comic mood and contemporary air of the production. 

This Twelfth Night is vibrant, energetic, at turns bawdy and slapstick-ish, and just a pure delight from start to finish. It’s an excellent example of how Shakespeare can be adapted to different settings and cultures, all the while still highlighting the themes and characters of the story. And it’s free. This “Shakespeare in the Park” entry from STLSF is a great way to start of the summer theatrical season. 

Jasmin Cheri Rush, Gabriela Saker
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival is presenting Twelfth Night in Forest Park’s Shakespeare Glen until June 25, 2023

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New Jewish Theatre’s “Gloria” is a Well-Cast Portrait of a Woman and a Movement

Posted in St Louis Theatre, tagged , , , , , , on June 7, 2023| Leave a Comment »

Gloria: a Life
by Emily Mann
Directed by Sharon Hunter
New Jewish Theatre
June 1, 2023

Jenni Ryan
Photo by Jon Gitchoff
New Jewish Theatre

For a while in recent history, and especially in America, it often seemed to me that the first person that most people would think of when they heard the word “feminist” was Gloria Steinem. Steinem has been a highly visible figure over the years, beginning in the 1960s and continuing to today, although she’s not quite as ubiquitous as she once seemed. Becky Mann’s play Gloria: a Life, currently being staged by the New Jewish Theatre, looks at this prominent figure in the history of the feminist movement, as well as some of her contemporaries and how the world has changed over the years as a result of their efforts. It features a strong cast, led by an impressive leading performer who took on the role at essentially the last minute.

This is a relatively short play, told in the first person from the perspective of Steinem, who is played by Jenni Ryan and supported by a cast of performers who all play various roles as the story unfolds (Summer Baer, Kayla Ailee Bush, Sarah Gene Dowling, Carmen Cecilia Retzer, Chrissie Watkins, and Lizi Watt).  It’s essentially a quick but very personal look at Steinem’s life and her role in the feminist movement, often referred to as “Women’s Lib” back in the day, as well as a brief overview of the movement itself, especially in the 1960s and 70s, also serving as a striking contrast to how societal expectations and laws regarding women have changed over the years–from the 1950s idealization of the “perfect” wife and mother to the revelation of the real struggles that women went through to be taken seriously in work and life. The story showcases Steinem’s formation as a journalist and as a world-famous leader, while also highlighting the work of other important figures in the feminist movement, including congresswoman Bella Abzug (Dowling), Cherokee leader Wilma Mankiller (Watt), and Black feminist leaders Dorothy Pitman Hughes (Bush) and Flo Kennedy (Watkins). 

The story is as thorough as it can be in its short running time, which is essentially one act with a short “talking circle” added on as “Act Two”, in which various local leaders–with a different “guest responder” each performance–join the cast onstage to talk about their experiences, react to the play, and respond to questions from the audience. At the performance I saw, the guest responder was state representative Tracy McCreery. 

The staging is energetic and fast-moving, as the story unfolds and Steinem tells her story of her life and work. Ryan gives a thoroughly engaging performance as Steinem, which is all the more impressive considering she was a last-minute replacement in the role, and had script in hand on opening night, even though the presence of the script didn’t take anything away from Ryan’s compelling portrayal. There is also excellent support from the strong cast, who all play a variety of roles. All of the players are excellent and perform their roles with energy, although if I have to choose a standout, I think Dowling is especially excellent in her two most prominent roles, as Steinem’s mother, Ruth, and as the outspoken Abzug. 

The show also makes a strong impression in a technical sense. The play is performed in the round, with a simple but effective set by Fallon Podrazik that works well for the tone and pace of the story. Michele Friedman Siler’s costumes are terrific, featuring the distinctive looks of various eras and characters portrayed, with the vibrant 1970s outfits a highlight. There’s also excellent work from lighting designer Denisse Chavez and sound designer Amanda Werre, and the use of era-specific music works well to help move the story along.

No matter how much you know, or don’t know, about Gloria Steinem, and whatever you may think about her and her work, there’s no doubt that she has been a prominent figure in history for the past 60 years or so. This is a look at her life, her causes, and her contemporaries that’s intriguing and fascinating even if it is brief.  It’s compelling theatre from a company known for excellence in its productions. 

Cast of Gloria: a Life
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Gloria: a Life at the J’s Wool Studio Theatre until June 18, 2023

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The Black Rep’s “Eubie!” is a Dynamic, Melodic Tribute to a Musical Legend

Posted in St Louis Theatre, tagged , , , , , , , , , on May 10, 2023| Leave a Comment »

Eubie!
Music by Eubie Blake
Conceived and Originally Directed on Broadway by Julianne Boyd
Directed by Ron Himes
Choreographed by Heather Beal and Vivian Watt, with Tap Choreography by Robert Crenshaw
The Black Rep
May 5, 2023

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

Eubie Blake was a composer and musician who made a big impact in the entertainment world, especially in terms of representation for Black performers, artists, and audiences. A few of his songs have endured as classic jazz/pop standards. Here in St. Louis, the Black Rep is paying tribute to Blake in staging the lively, memorable revue Eubie! Featuring a strong cast and impressive choreography, the show is a fitting tribute to Blake, as well as a memorable introduction for those who may not be as familiar with his work. 

For me, this show is an educational experience. I had heard of Eubie Blake, and particularly his song “I’m Just Wild About Harry” and his 1921 musical Shuffle Along, that was the source for a “making of” Broadway Production a few years ago. The majority of his work was new to me, however, and this revue, with its excellent singing, dancing, and presentation, is an ideal further introduction. There isn’t a story here, really. Essentially, the show sets songs by Blake and his collaborators in a number of routines, most of which have a glitzy 1920s style and mood, performed on a simple, versatile set by Tim Jones that features an Art Nouveau style flourish, with excellent stylized lighting by Jasmine Williams, vibrant costumes by Marc W. Vital III, and backed by a first-rate band led by musical director and pianist Joe Dreyer. 

The choreography, by Heather Beal and Vivian Watt, with tap choreography by Robert Crenshaw, is spectacular, and Crenshaw is a standout performer in the cast, wowing the audience with a series of athletic tap routines and strong stage presence on songs like “I’m Just Wild About Harry” (along with Evann De-Bose, Samantha Madison, and Tamara PiLar) and “Hot Feet”. The cast also features  DeAnté Bryant, Serdalyer Darden, Venezia Manuel, Carvas Pickens, and J’Kobe Wallace, with Taijah Silas as an understudy.  All the cast members get their moments to shine, either as individuals or in group performances. Other notable moments include De-Bose’s heartfelt “Memories of You” and Boyce’s “Craving for That Kind of Love”. The ensemble singing and dancing is uniformly strong, with strong harmonies and a great deal of energy. 

Overall, Eubie! is an entertaining, highly engaging production that captures the early 20th Century atmosphere and musical style especially well. Even though it doesn’t have a plot, it tells a story–of a composer and of the times in which he lived–through music and dance. It’s a memorable conclusion to the Black Rep’s 2022-2023 season. 

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Eubie! at Washington University’s Edison Theatre until May 21, 2023

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Midnight Company’s “Leonard Pelkey” is a Compelling, Emotionally Resonant Production

Posted in Uncategorized, tagged , , , , , , on May 10, 2023| Leave a Comment »

The Absolute Brightness of Leonard Pelkey
by Celeste Lecesne
Directed by Alicen Moser
The Midnight Company
May 6, 2023

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is currently back onstage with a poignant, emotional production that features Joe Hanrahan doing what he’s perhaps best known for–a one-man show. The Absolute Brightness of Leonard Pelkey isn’t a one character show, however. Hanrahan gets to show his versatility here, telling a short but powerful story and playing a variety of roles, creating a memorable, remarkably affecting portrait of a small town in turmoil, and one character we never actually “meet” who makes the most profound impact of all. 

Hanrahan narrates the story as Chuck DeSoto, a police detective in a small New Jersey town who is remembering the case that has affected him the most. The flashback format has DeSoto offering commentary on the proceedings as the story unfolds, and Hanrahan deftly morphs into the various players, starting when hair salon owner Ellen Hertle and her teenage daughter Phoebe walk into the police station to report a missing person. Leonard Pelkey is a 14-year-old boy who Ellen has been raising after his mothers’ death. Leonard has only been in town for about two years, but he’s already made an impression, with his “weird” theatrical personality and offbeat sense of personal style. It’s made fairly clear that Leonard is gay, as well, and he’s experienced a great deal of bullying at school. As the story unfolds, the efforts to find what’s happened to Leonard unfold like a mystery story, and although there are sad and even tragic elements, there are also moments of hope, as we meet a series of characters who have been affected by Leonard in various ways, including the concerned Ellen; conflicted Phoebe; Buddy Howard, Leonard’s British-born drama instructor; clock repairman Otto Beckerman; and others. As the truth is discovered, we get to learn more about the various characters and their motivations–especially Phoebe, who is perhaps the most well-drawn character here besides Chuck. Also, even though Leonard never actually “appears” onstage, his character seems just as real as the others, and his influence pervades every moment. 

It’s a short play, but especially well-constructed, and Hanrahan does an excellent job playing the various distinctive characters, especially Chuck, Phoebe, Ellen, and Otto. Hanrahan’s handles the humor and the drama well, and the pacing is excellent. Tony Anselmo’s lighting also adds much to the overall mood of the show.

The playwright, Celeste Lecesne, is also a co-founder of The Trevor Project, which provides a crisis hotline and other resources for LGBTQ+ youth. The theme of  this show highlights the difficulties that young gay teens can endure, as well as the positive impact that one boy’s life can make on those around him, even in such a short time.  The play also  features an over-arching theme of individual expression and the importance of community support and respect. It’s a memorable effort from Joe Hanrahan and The Midnight Company.

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Absolute Brightness of Leonard Pelkey at the Kranzberg Arts Center until May 20, 2023

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Tesseract Theatre Company stages a Vibrant, Somewhat Mixed-Up “Welcome”

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on May 4, 2023| Leave a Comment »

Welcome to Arroyo’s
by Kristoffer Diaz
Directed by Brittanie Gunn
Tesseract Theatre Company
April 29, 2023

Victor Mendez
Photo: Tesseract Theatre Company

Welcome to Arroyo’s! That’s the name of Tesseract Theatre Company’s latest show, currently being staged at the .ZACK Theatre. Production-wise, it’s vibrant and fun, with an energetic cast. The play itself can be frustrating in its structure at times, but for the most part it’s an intriguing journey into the world of a small New York City bar, its staff and would-be regulars, with a lively, mostly hip-hop soundtrack.

The story, narrated alternatingly by aspiring rap duo Nelson (Kevin Corpuz) and Trip (Jacob Schmidt), and by earnest grad student Lelly (Hannah de Oliveira), follows three main threads, as Alejandro (Victor Mendez) strives to turn his mother’s former bodega into a thriving bar; Alejandro’s younger sister Molly (Remi Mark), a graffiti artist, looks to establish a name for herself despite run-ins with the police, including Officer Derek (Marshall Jennings), with whom she develops a reluctant attraction; and Lelly’s quest to discover the identity of an influential figure in the early hip-hop scene, about whom she’s writing a thesis. These stories all intersect at various points, with the bar as the central locale, but really, it’s a story about hopes, dreams, personal history, family connections, and the role of a community in the lives of its residents, and vice versa.

It’s a compelling story, for the most part, with memorable characters, a good dose of humor, and excellent use of music. Still, the structure can be a little difficult to follow at times, as each plot keeps putting off key revelations in ways that seem more designed to frustrate the audience than to really drive the story. At Tesseract, the story is well-played, though, with the characters and memorable performances bringing energy to the overall presentation, along with vibrant production values.

The production manager is Sarah Baucom, but there’s no credit given to the set designer or projection designer, although the simple but effective set and memorable projections provide much of the overall atmosphere. Also contributing to the mood are Tony Anselmo’s eye-catching lighting and Jaz Tucker’s excellent sound design. The hip-hop soundtrack and use of other music adds much to the overall energy of the show.

As for the cast, the standouts here are Corpuz and Schmidt, who are both hilarious and personable as the aspiring hip-hop artists who work at the bar. Much of the play’s energy and humor comes from these two, and they energize all the scenes they are in. Mark and Jennings are also strong as the rebellious Molly and somewhat weary but well-meaning cop Derek, who has his own identity issues to deal with concerning sharing his name with a celebrity. Mendez also puts in a solid performance as Alejandro, making the most of a part that isn’t given much to do beyond being alternately sad and determined; and de Oliveira is fine as Lelly, although she could use more energy in some moments. Overall, it’s a cohesive cast that makes the most of this show’s oddly organized script.

While the script is not without its flaws, Welcome to Arroyo’s is a compelling story with good characters and lots of humor and heart. It’s a show about relationships between people, as well as between artists and their art, and individuals and the communities in which they live.  At Tesseract, it’s an entertaining and thoughtful production.

Remi Mark, Marshall Jennings
Photo: Tesseract Theatre Company

The Tesseract Theatre Company is presenting Welcome to Arroyo’s at the .ZACK Theatre until May 7, 2023

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WEPG Presents an Entertaining, Educational “Finale”

Posted in St Louis Theatre, tagged , , , , , , , , on May 4, 2023| Leave a Comment »

Finale
by Vladimir Zelevinsky
Directed by Steve Callahan
West End Players Guild
April 28, 2023

Sadie Harvey, Paula Stoff Dean, Timothy McWhirter, Matt Anderson
Photo by John Lamb
West End Players Guild

West End Players Guild’s latest play is a somewhat ambitious endeavor that can be difficult to categorize in terms of comedy or drama, considering the marked difference in tone between the first and second acts. Still, Finale is an engaging look at famed opera composer Gioacchino Rossini and some of his most important relationships, with a friend and producer, with his first wife, and with music itself.  As staged by director Steve Callahan and featuring a memorable cast, this show is at turns bright and energetic, and poignantly affecting.

Finale is the latest play from Vladimir Zelevinsky, who has had several productions premiered at West End Players Guild. This one will be especially appealing to fans of classical music and opera, and Rossini in particular. It focuses on two important periods in the composer’s life. In Act One, the young Rossini, played by Timothy McWhirter, is struggling to compose the Act One finale to The Barber of Seville, with little time to spare before the curtain rises on the production’s premiere in Rome. Backstage, the gifted but impulsive and amorous young composer deals with the impatience of his producer Domenico Barbaia, played by Matt Anderson, and flirts with renowned singer and Barbaia’s fiancée Isabella Colbran, played by Paula Stoff Dean. Rossini enlists Isabella’s help in working on his composition as the two banter and deal with their obvious attraction, as well as with unwelcome interruptions by Barbaia and other plot twists involving a young aspiring singer called Angel, played by Sadie Harvey, who is the source of several surprises.

The first act is lively, witty, and fast-paced, with a fair amount of physical comedy involved, but the second act offers a striking contrast. Taking place years later in Paris, the story revisits Rossini as a tired, jaded writer who is absorbed in his work but struggles to write something new and original. Isabella is neglected and hopes to take her husband to a new home and revitalize their relationship, and Barbaia has a new offer for the composer from the King of France himself. Angel is there too, although in this act she’s more of a fantasy or memory, and the overall tone is more dramatic and melancholic. The contrast in the situations emphasizes the difference in Rossini’s character as he has grown from young, energetic and impulsive to older and more regretful. 

In a way, this story almost seems like two plays in one, but it works largely because of the excellent performances of McWhirter as the charming and unpredictable Rossini, and Dean as the talented, hopeful but eventually neglected Isabella. These two are the heart and soul of this production, with strong chemistry and stage presence. Harvey is also excellent, particularly in her comic moments in the first act, and as a sounding board for Rossini’s regrets in the second. Anderson, for his part, is a little difficult to believe as the somewhat clueless Barbaia of the first act, but he is much more believable in act two as the enterprising older impresario. 

Technically, the show has a striking, period-appropriate look, with stylish scenic design by Ken Clark and excellent lighting by Nathan Schroeder and sound by Chuck Lavazzi. Tracey Newcomb’s costumes are also memorable, with period-specific detail that lends much to the overall tone of the show in both acts, reflecting the change in fashion over the years. The pacing is brisk and energetic, especially in the more farcical first act, while becoming a bit more deliberate in the more reflective second act.

Overall, Finale is a promising work that I’m thinking will appeal especially to viewers who are familiar with Rossini and his work, as well as the technical aspects of reading and writing music. It’s also an educational experience for those who aren’t as familiar with these subjects. It’s another fascinating work from Zelevinsky, who attended the opening night performance. With a good cast and excellent direction, this is a work of art worth seeing, hearing, and experiencing.

Paula Stoff Dean, Timothy McWhirter
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Finale at Union Avenue Christian Church until May 7, 2023

This review was originally published at kdhx.org

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Prism Theatre Company Explores “Doubt” in Fascinating, Thought-Provoking Drama

Posted in St Louis Theatre, tagged , , , , , , on April 27, 2023| Leave a Comment »

Doubt: A Parable
by John Patrick Shanley
Directed by Trish Brown
Prism Theatre Company
April 22, 2023

Jeffrey David Thomas, Rhiannon Creighton
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company’s latest production may be called Doubt: a Parable, but what’s certain here is its excellence. John Patrick Shanley’s Tony and Pulitzer Prize-winning play is a meticulously crafted, highly thought-provoking look at uncertain situations, the roots of suspicion, and the changing atmosphere in the Catholic church in the early 1960s. Onstage at the Kranzberg Arts Center, Prism’s production features expert staging, thoughtful pacing, and a first-rate cast that makes the already excellent script all the more compelling.

The story takes place at a Catholic elementary school in 1964, during the era of the Second Vatican Council that brought a lot of changes in the life of the Church and Catholic parishioners. Here, the main conflict is between a stern, traditionalist nun, Sister Aloysius (Kate Durbin), and a popular, progressive-minded young priest, Father Brendan Flynn (Jeffrey David Thomas).  The sister, who heads the school, is suspicious of the priest for a few reasons, but she becomes especially upset when Father Flynn has a private meeting with the school’s first Black student, about whose welfare she has been especially concerned. Even before this incident, however, she has instructed the young, enthusiastic young teacher Sister James (Rhiannon Creighton) to keep an eye on the priest, and her suspicions of misconduct on his part only grow as the plot plays out. Sister Aloysius even calls in the student’s mother, Mrs. Muller (Laurell Stevenson) for a meeting to share her concerns, and is met with an unexpected response revealing that Mrs. Muller’s has other reasons to be concerned for her son. As the central conflict plays out, we get to hear Father Flynn preach about the concepts of doubt and the dangers of gossip, as well as sharing his concerns with the highly conflicted Sister James, who has her own conflicts with the more severe older nun. Throughout the play, playwright Shanley is especially careful not to reveal too much, leaving the judgment of what has happened up to the audience, while also setting up credible situations and discussions of the conflicts between the “old” and “new” ways in the Catholic church, as well as real critiques of the hierarchy of the Church, and how the institution has handled accusations of abuse and misconduct that have been revealed over the years and have only become more well-known since the play’s first staging in 2005. 

This is a riveting, thoughtful, well-characterized drama, with excellent roles for all four of its players, all of whom excel in this production. Durbin’s Sister Aloysius is the driving force here, with a strong, severe but caring presence and an authentic-sounding New York accent that enhances her character rather than distracting. Durbin brings out the complexities in the character convincingly, and her influence on the equally excellent Creighton’s Sister James is palpable. Thomas is also impressive as the somewhat enigmatic Father Flynn, managing to convey both genuine concern for his students and the future of the Church, as well as a degree of self-interest and mystery that can lend credibility to Sister Aloysius’s concerns. Stevenson also makes a memorable impression in her relatively small role as Mrs. Muller–conveying the character’s own personal situation and concerns for her son thoroughly in one dramatic scene. 

The staging is inventive and thoughtful, using the small space at the Kranzberg Black Box theatre especially well. Matt Stuckel’s vivid set utilizes various areas of the performing space for ideal dramatic effect, aided by Tony Anselmo’s striking atmospheric lighting and Jacob Baxley’s excellent sound design. The costumes by Sam Hayes are also excellent, suiting the characters well and helping to set and maintain the time and place of the story. 

There’s also somewhat of a relational element to this play, considering the fairly large number of Catholic schools in the St. Louis area. No matter your religious or educational background, however, Doubt: a Parable has a lot to say, with its vivid characterizations and convincing performances telling a tale that’s sure to provoke much thought and discussion. Prism Theatre Company is still fairly new, but they are making their presence known with another excellent production. 

Kate Durbin, Laurell Stevenson
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company is presenting Doubt: a Parable at the Kranzberg Arts Center until April 30, 2023

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The Rep Explores a Fascinating Relationship with Well-Cast “Gruesome Playground Injuries”

Posted in St Louis Theatre, tagged , , , , , , on April 26, 2023| Leave a Comment »

Gruesome Playground Injuries
by Rajiv Joseph
Directed by Becks Redman
Repertory Theatre of St. Louis, Steve Woolf Studio Series
April 21, 2023

Jessika D. Williams, Brian Slaten
Photo by Phillip Hamer
Repertory Theatre of St. Louis

Gruesome Playground Injuries is a somewhat provocative title for a play. Although there are injuries involved, and some sensitive subject matter, this is primarily a play about a relationship. As part of the Repertory Theatre of St. Louis’s Steve Woolf Studio series, and utilizing the excellent black box theatre space at the Kirkwood Performing Arts Center, this is a cleverly staged, quirky and intriguing production that features a first-rate cast and striking production values.

Written by Rajiv Joseph, directed by Becks Redmond, and starring Brian Slaten as Doug and Jessika D. Williams as Kayleen, the play follows its two characters in a format that’s not exactly linear, but doesn’t seem random either. We first meet Doug and Kayleen as 8-year-olds in Catholic school, waiting in the nurse’s office because Doug has injured himself riding his bike off the school roof, and Kayleen has an upset stomach.  The two bond over juvenile humor and gross-out jokes, and their contrasting personalities are shown more clearly as they grow. The adventurous and loyal Doug, and the more anxious, insecure Kayleen have several key meetings over the years, as they become friends, drift apart, and then reconnect in a series of memorable moments, occurring in five year increments and told in an order that makes sense as the events of the play unfold. The players also stay onstage for the duration of the show, changing costumes in between scenes and marking their characters’ ages with a marker on a large mirrored backdrop. 

It’s an intense show, with balanced moments of humor and drama, and well-drawn characters whose connection is made all the more believable through the excellent performances and chemistry of Slaten and Williams, who portray their characters and their evolving relationship dynamic with energy and credible emotion. Their thoroughly engaging performances and director Redman’s well-paced staging work together to tell a believable, highly involving story.

The technical qualities of this production are also strong, serving the story well and helping to advance the mood and energy of the story. The carpeted unit set, designed by Diggle, is versatile and makes an appropriate backdrop for the action as the characters grow from childhood to adulthood. The set does have aspects of a playground, as suggested by the play’s title. There’s also evocative lighting by Anshuman Bhatia and superb sound design by Kareem Deanes, as well as appropriately atmospheric music by David Gomez. The costumes, by Carolyn Mazuca, are well-suited to the characters and changing times, as well as working well for the quick scene changes as the story progresses.

It’s worth noting that there is some sensitive subject matter here, including discussions of depression, physical injuries, self-harm, and sexual assault. It’s a vividly portrayed, often irreverently humorous tale of two people who share a lasting bond despite periodic long separations. Gruesome Playground Injuries may suggest gore and guts in its title, but what’s really at its core is the intense connection of the memorable characters.  Although the ending is somewhat abrupt, the story itself is a vivid, characterful theatrical experience. 

Jessika D. Williams, Brian Slaten
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Repertory Theatre is presenting Gruesome Playground Injuries at the Kirkwood Performing Arts Center until May 13, 2023

This review was originally published at KDHX.org

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Max & Louie’s Thought-Provoking “Constitution” Makes a Memorable Impression

Posted in St Louis Theatre, tagged , , , , , on April 8, 2023| Leave a Comment »

What the Constitution Means to Me
by Heidi Schreck
Directed by Nancy Bell
Max & Louie Productions
April 6, 2023

Michelle Hand, Isaiah Di Lorenzo
Photo by Dunsi Dai
Max & Louie Productions

How well do you know the United States Constitution? This document is the basis for our country’s government, but not everyone knows exactly what’s in it, or how it should be interpreted. At Max & Louie Productions’ latest staging of Heidi Schreck’s Pulitzer-nominated What the Constitution Means to Me, they’re passing out little booklets containing the entire Constitution, so you can read it for yourself. You also get to witness a heavily thought-provoking, highly personal presentation based on the playwright’s own experience, acted out by a some excellent local performers and providing for a challenging, thoroughly fascinating evening of theatre. 

This show was originally performed by Heidi Schreck herself along with the original cast, and it was filmed for Amazon Prime. I’ve seen the Prime version, which is excellent, but it’s a new experience to see Heidi portrayed by a well-known local performer, Michelle Hand, along with Isaiah Di Lorenzo as a Legionnaire and a trio of young students (Riley Carter Adams, Aislyn Morrow, and Maahi Saint) alternating as the Debater, who participates in a one-on-one competition with Hand at the end of the show, debating about whether or not the Constitution should be abolished. The story itself follows Heidi’s experience participating in a series of contests in her high school years in order to earn money for college, with many digressions about her family and her life since high school. The contrasts between her understanding  of the Constitution as a teenager vs. later are highlighted as Heidi tells stories from her own personal experience, as well as those of her mother, grandmother, and great-great grandmother, along with bringing up a series of historical incidents and Supreme Court cases (complete with actual audio recordings). The general theme is of the Constitution as a flawed document that wasn’t written with all Americans in mind, excluding women and people of color specifically. While it was written with the ability to be amended, and there have been many amendments, the idea is raised that it might be a good idea to start over and write a new Constitution.

Also in a departure from the original version, Hand participates in the debate as herself, and not as Heidi, which works well here, as Hand’s rapport with Adams (the Debater I saw) is excellent, and their mutual respect shines through even in the midst of intense debate. I assume this rapport is present with the other Debaters, as well. In the main story, Hand is also excellent as Schreck, not exactly copying her mannerisms but conveying her personability, humor, and emotion with strong stage presence and clarity. Di Lorenzo is also strong as the Legionnaire, who acts as moderator of the teen Heidi’s contest and also has some surprises in store as the story veers more and more from the original narrative. Adams is also impressive as the Debater, giving convincing arguments and demonstrating great enthusiasm for the subject. 

Technically, the show recreates an old American Legion hall with a twist, with a simple and effective unit set by Dunsi Dai that features a lot of wood paneling and scores of serious-looking photos of men, skewed at an angle suggesting the photos may slide off their shelves at any minute. This works as a suitable backdrop for the proceedings. There’s also strong work from lighting designer Zak Matalsky and sound designer Phillip Evans. The direction is thoughtful and well-paced, with many emotional highlights, and underscoring the personal connection that Heidi has formed with her former teen self and with the Constitution and her ideals.

What the Constitution Means to Me is a highly thoughtful, personal, and thought-provoking show, and it raises good points for keeping the Constitution and for abolishing it and starting over. No matter what an individual viewer’s opinion may be on this subject, I think this is a show worth seeing, with an excellent, highly likable cast and strong production values.  It’s sure to raise questions and lead to interesting conversations, as well as making audiences think and examine how this country has treated its citizens over the years, and how we can strive to do better. 

Michelle Hand, Riley Carter Adams
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting What the Constitution Means to Me at the Marcelle Theatre until April 23, 2023

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