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The Agitators
by Mat Smart
Directed by Lisa Tejero
Upstream Theater
October 4, 2019

Jerome Samuel Davis, Erin Kelley
Photo by ProPhotoSTL.com
Upstream Theater

For me, The Agitators at Upstream Theater is an educational experience as well as a theatrical one, and I would imagine the same would be true for many others in the audience. Following the true but not generally highlighted friendship of two well-known and important historical figures, this production also serves as an ideal showcase for its excellent actors. Its also notable for a memorable musical soundtrack and strong production values.

A lot of audience members will (or should be) familiar with prominent 19th Century activists Frederick Douglass and Susan B. Anthony. I had read a fair amount about both before, but I wasn’t aware that the two shared a close friendship that lasted for decades. This play focuses on that friendship, and on both central figures’ lives in devotion to their causes, the abolition of slavery and equal rights (including voting rights) for African-Americans and for women. The story spans the decades, starting in the 1840s when Douglass (Jerome Samuel Davis) and Anthony (Erin Kelley) first meet and form a friendship, through the years before and after the Civil War, to the effort to pass the 15th Amendment to the Constitution, and in the continuing fight for women’s sufferage. The two are portrayed as affectionate friends and allies, but also strong personalities who occasionally clash in pursuit of their causes, as their focuses and approaches do not always align. It’s a fascinating portrayal of the struggles that activists can face, and the temptations to compromise some goals in favor of others. It also shows both characters challenging one another at various times, putting strains on their life-enduring friendship. It’s an in-depth look at these two and at a particularly tumultuous time in American history.

The casting is ideal here, with both performers giving terrific performances and working together especially well, showing an incredible bond between their characters. The strong presence and historical importance of both Douglass and Anthony is well-embodied by Davis and Kelley, as is their humanity, as well as the passage of time and aging of the two central figures over the years and decades. It’s a compelling portrayal from both, and the relationship forms the foundation of the drama. There’s also a strong musical soundtrack provided by Syrhea Conaway that is essentially a character in itself, lending much poignancy to the production.

The set, by Patrick Huber, is versatile and evocative, consisting of a wooden stage area and several blocks that are moved around by stagehands as needed, backed by excellent projections. The costumes by Michele Friedman Siler also add to the sense of time, place, and character. There’s also strong atmospheric lighting by Huber and excellent sound by Kareem Deanes. All of these elements, as well as the props by Jenny Smith and wigs by The Wig Associates, work together to make for an impressively credible production.

The Agitators is a compelling drama, with its important historical characters–and the top-notch performers portraying them–at front and center. It’s educational and enlightening, highlighting important historic events as well an timeless themes of equality and justice. It’s an impressive season opener for Upstream Theater.

Jerome Samuel Davis, Erin Kelley
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting The Agitators at the Kranzberg Arts Center until October 13, 2019

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Hello, Dolly!
Book by Michael Stewart, Music and Lyrics by Jerry Herman
Directed by Jerry Zaks
Choreographed by Warren Carlyle
The Fox Theatre
October 1, 2019

Cast of Hello, Dolly!
Photo by Julieta Cervantes
Hello, Dolly! National Tour

I’ve seen Hello Dolly! a few times now, at various levels from dinner theatre to regional theatre, as well as the movie. Now, the Fox is presenting the tour based on the recent Broadway revival. My first reaction upon seeing this new production is “it’s Hello, Dolly!” What I mean is that it’s basically what you would expect. There are no reinventions or re-imaginings here. In fact, this one seems to be trying to preserve the spirit of the original Broadway production, and original director, choreographer Gower Champion is even listed in the credits. What is somewhat different about this production is that the emphasis seems to be on the lead performer more than ever, which makes sense since it was originally designed as a vehicle for Bette Midler. Here, with the role being taken by Broadway veteran Carolee Carmello, that starry sheen is as evident as ever, and the title character is certainly the star of the show.

The story is the same familiar tale–of matchmaker and all-around professional meddler Dolly Gallagher Levi (Carmello), who after years of making matches for other people, has decided that she’s tired of being a widow and wants to set up a match for herself. The object of her scheme is curmudgeonly Yonkers-based “half-a-millionaire” Horace Vandergelder (John Bolton), who thinks he’s being paired with widowed hat shop owner Irene Molloy (Analisa Leaming), but he doesn’t know Dolly has other plans. This show also has an especially strong “B” plot that, for me, often upstages the “A” plot–that focusing on Horace’s sheltered and overworked chief clerk Cornelius Hackl (Daniel Beeman), who along with young assistant Barnaby Tucker (Sean Burns) takes advantage of the boss’s absence to take an adventurous day trip to New York City, eventually crossing paths with Irene and her young assistant, Minnie Fay (Chelsea Cree Groen). There are some other subplots as well, that all eventually get tied together, with memorable characters and some increasingly hilarious situations, all while Dolly tries to reconcile her future plans with her past, while manipulating situations to her advantage.

Of course, this show, being named after its main character, needs to have a stand-out star in the role, and more than any other stage production I’ve seen, this one has that. I’ve seen some excellent performers as Dolly, but this whole production is essentially Carmello being backed by everyone else. That’s not to disparage the rest of the cast–everyone is excellent, with Bolton a fine, cantankerous Horace, and particular standout performances from Burns as an eager, amiably and athletically dancing Barnaby, Groen as the outspoken Minnie Fay, and a fun, expressive turn by Laura Sky Herman as Horace’s nervous niece, Ermengarde. Beeman and Leaming also show fine chemistry as Cornelius and Irene. There’s also a great, energetic ensemble filling out splashy, dazzling production numbers like “Put On Your Sunday Clothes” and Before the Parade Passes By”. Still, the main focus is on Carmello, as it should be because she’s terrific. She’s got everything anyone would want in a Dolly, and more, with a great voice, the big personality to fill out the stage even when she’s the only one on it, especially impressive comic timing and physical comedy skills, and an emotional range that brings poignancy to her more serious moments. It’s a tour-de-force performance.

Another standout feature of this show is its dazzling physical production. It’s a great-looking, fresh-from-Broadway stylish presentation, with a stunning, highly detailed set and fantastically colorful costumes, both by Santo Loquasto. There’s also excellent lighting by Natasha Katz and sound by Scott Lehrer. The production is also accompanied by a delightful orchestra led by Ben Whitely, making the classic score sound great.

The only major drawback to reviewing this production is that Carolee Carmello has joined the show so recently that there aren’t any production photos of her yet. Still, she’s the reason to see this show. It’s a fun, energetic production, with a good cast, but Carmello is the star, filling this great, classic role with style.

Cast of Hello, Dolly!
Photo by Julieta Cervantes
Hello, Dolly! National Tour

The North American tour of Hello Dolly! is being presented at the Fox Theatre until October 13, 2019

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Equivocation
by Bill Cain
Directed by Tom Kopp
West End Players Guild
September 28, 2019

Alicen Moser, Roger Erb, John Wolbers, Mark Conrad, Michael Pierce
Photo by John Lamb
West End Players Guild

West End Players Guild is opening their new season with the second play by a local company focusing on the working and personal life of the Bard in two months. There are some major differences, though, between those productions. The last one, Insight’s Shakespeare in Love, was a large-cast comedy. This one, Equivocation, has a relatively small cast and is more dramatic in tone, although it does have its humorous moments. It’s also one of the best productions I’ve seen from this company.

This play is something of a “What if?” story, presenting the playwrights idea of what could have happened in history, even if there’s no concrete evidence that it did. It’s an intriguing idea, too, with successful playwright William Shagspeare (Roger Erb) -as he is called here–being summoned by the Prime Minister, Robert Cecil (John Wolbers), who orders Shagspeare to write a play about the infamous–and recently foiled–“Gunpowder Plot”. Shagspeare is reticent for several reasons, but Cecil is insistent, as is Richard (Reginald Pierre), the leader of Shagspeare’s theatrical troupe. The other players, Nate (also Wolbers), Armin (Mark Conrad) and the newest member, Sharpe (Michael Pierce) are all intrigued as well, but Shagspeare’s daughter, Judith (Alicen Moser), who professes to hate theatre, isn’t so sure, especially since her father states he wants to tell the truth. “How can there be anything true about a play?” she asks, and that’s the big question here. How does a playwright write the truth when so many factors are working against him? There are pressures from his actors to write good roles for them, and to write a play that sells tickets. There’s also the more pressing government pressure to tell the “official” story of the plot, of which Shagspeare is skeptical, to say the least. There’s also his own self-doubt and personal regrets based on past reactions to his plays and what his audience expects from his plays. Add that to the personal tensions he has with his daughter, his lingering grief about having lost his son, and the outlook for this play doesn’t look promising, at least at first. Then, the playwright begins to interview some of the “plotters”–particularly Tom Wintour (also Pierce) and Catholic priest Garnet (also Pierre), learning that there’s a lot more to the story than the “official” account lets on, and that Cecil has his own reasons for wanting this play written and the plotters executed. What ensues is a positively fascinating plot full of twists, turns, memorable characters, and lots of intrigue, with a clever, insightful script and a surprisingly timely subject matter, as a playwright deals with the struggle to tell the truth in a society that is hostile to that truth. It also deals poignantly with issues of parent/child relationships and grief, as well as about the process of writing and an overall sense of love for the theatre. Also, the development of the play Shagspeare is writing, which turns into something you may recognize, is compellingly and cleverly portrayed.

The cast is excellent, led by Erb in an excellent, sympathetic portrayal of a writer, actor and father who searches for, and seeks to best represent, the truth while facing some difficult personal truths. Erb has a strong presence and relates well with the rest of the cast, especially the equally strong Moser as the initially surly, but ultimately well-meaning Judith. The other cast members all play multiple roles, and they play them well, from Wolbers as the scheming, aristocratic Cecil to Pierce as the somewhat insecure up-and-coming actor Sharpe as well as the devout, imprisoned Wintour and another role that’s unlisted but especially important, to Pierre as the determined, proud and aging actor Richard and the intriguing, philosophical Garnet, to Conrad in various roles including actor Armin. Everyone does an impressive job with the transitions between characters, which can sometimes be abrupt. The interplay between the cast members provides a lot of the drama here, and director Tom Kopp keeps the tone and pacing just right. Even though the play is relatively long, it doesn’t seem that way, and is fascinating from start to finish.

Technically, this show makes the most of the basement stage at Union Avenue Christian Church. George Shea’s set is versatile and effective, evoking its era but also allowing for the various changes of setting and for some striking staging effects. Tracey Newcomb-Margrave’s costumes are also excellent, suiting the characters and the period especially well. There’s also appropriately evocative lighting design by Amy Ruprecht and sound and original music by Susan Kopp.

Equivocation is, unequivocally, a dramatic triumph from West End Players Guild. It’s a play I hadn’t heard of before, and I’m glad to have seen it now. This is a stunning piece of theatre, with a cast that is nothing short of stellar. It’s a superb way to start off a new season from West End Players Guild.

Alicen Moser, Roger Erb, Mark Conrad, Michael Pierce, Reginald Pierre, John Wolbers
Photo by John Lamb
West End Players Guild

West End Players’ Guild is presenting Equivocation at Union Avenue Christian Church until October 6, 2019

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Cry-Baby
Book by Mark O’Donnell and Thomas Meehan
Songs by David Javerbaum and Adam Schlesinger
Based on the Film Written and Directed by John Waters
Directed by Scott Miller and Mike Dowdy-Windsor
Choreographed by Michelle Sauer
New Line Theatre
September 27, 2019

Caleb Miofsky, Grace Langford
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is opening a new season with an old favorite. Their previous production of Cry-Baby was apparently extremely well-received, so now the company has brought it back for a rousing, fun new production. It’s one of those shows that seems made for this company, and the excellent cast of veteran New Liners and talented newcomers makes the most of every moment.

This show, based on a John Waters film that I also hadn’t seen, isn’t quite as simple as it might first appear. The tone is upbeat and rocking, for the most part, although the underlying message is more serious. The characters are deliberately cartoonish and placed into “types”, all in service to the idea that appearances can be deceiving, and strictly enforced social roles can’t (and shouldn’t) substitute for genuine integrity. The setting is 1954 Baltimore, and the conflict is on between the accepted “clean and decent” young people, the Squares, and their parents and respected elders, and the countercultural Drapes (basically greasers), who like loud music, defy accepted social norms, and are looked down upon by the Squares and their supporters. The focus is on a Romeo and Juliet-like “first sight” attraction between baton-twirling Square Allison Vernon Williams (Grace Langford) and “bad-boy” aspiring rock ‘n roller Wade “Cry-Baby” Walker (Caleb Miofsky), who is derided for his background by the Squares led by Baldwin Blandish (Jake Blonstein), who is also interested in Allison and who leads a sweater-clad vocal group called The Whiffles (Stephen Henley, Ian McCreary, Christopher Strawhun). Cry-Baby sings regular gigs at a local establishment favored by the Drapes called Turkey Hill, hosted by his friend and aspiring DJ Dupree W. Dupree (Marshall Jennings), and backed by a trio of outspoken, also socially outcast Drapes Pepper Walker (Reagan Deschaine), Wanda Woodward, and Mona “Hatchet-Face” Malronorowski (Sarah Gene Dowling). When Allison’s interest in Cry-Baby becomes obvious and she accepts Cry-Baby’s invitation to join him at Turkey Hill, this upsets the vengeful Baldwin as well as the obsessive Lenora Frigid (Aj Surrell), who is fixated on Cry-Baby and determined to make him notice her. Then there’s the issue of Cry-Baby’s tragic backstory, which causes conflict not only for him, but also for Allison’s socialite grandmother, Cordelia Vernon-Williams (Margeau Steinau), who may know more about what happened than she lets on.

As I’ve already stated, this is a fun show, with a bright, energetic score that’s heavily influenced by early 50s rock and pop, and this production gets that sound just right, not only by means of the excellent singing that’s come to be a given at New Line, but also by the also predictably superb New Line Band, led by Nicolas Valdez, who shares credit as music director of the show with Marc Vincent. It’s also almost impossibly energetic in terms of tone, and some serious topics are covered throughout the course of the sometimes deceptively bouncy score and characterization. As mentioned in the Director’s Notes in the program, it’s essentially about irony, in situation and tone. There are some deep messages thrown in there that (deliberately) clash with the oh-so-hyper-positive tone–issues of questioning social norms and oppressive societies, of the inevitability of social and cultural change, of generation gaps, and more. That’s all there, but the upbeat energy is also infectious even when you know how the story is going to turn out, and what’s going to happen in the larger society after the show’s time period ends.

The cast here is wonderful, led by a star-in-the-making performance from high school senior Miofsky as Cry-Baby. As the frequently misunderstood but still upbeat, kind, well-meaning would-be rock star, Miofsky has it all–the voice, the personality, the stage presence, and the chemistry with his co-stars, especially the equally excellent New Line veteran Langford as the perky but conflicted Allison. She also has a great voice. There are also strong comic performances from Blonstein as the increasingly vengeful, insistently “squeaky clean” Baldwin, Dowling as the confrontational “Hatchet-Face”, and the hilariously off-kilter Surrell as the Lenora. There are also strong performances from Jennings, in great voice as Dupree, and Steinau as the increasingly conflicted “pillar of the community” Mrs. Vernon Williams. There’s a strong ensemble all-around, with excellent singing, energetic dancing choreographed by Michelle Sauer, and cohesive ensemble chemistry that helps to tell the story well.

The production values here are great, too. The time, place, and tone of the show are well-represented in Rob Lippert’s eye-catching set and Colene and Evan Fornachon’s cool, colorful costumes. There’s also excellent lighting by Kenneth Zinkl and sound design by Ryan Day.

Overall, this is a great looking and sounding show with a satirically upbeat 50s flavor and broadly comic tone. With some truly great performances and a memorable score, Cry-Baby is a hit. It’s another example of a show that works better at New Line than it probably would (and did) on Broadway. It’s also (if I haven’t mentioned this before) a whole lot of fun!

Cast of Cry-Baby
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Cry-Baby at the Marcelle Theatre until October 19, 2019

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Whammy! The Seven Secrets to a Sane Self
Created by Maggie Conroy and Chuck Harper
Directed by Chuck Harper
YoungLiars
September 26, 2019

Maggie Conroy, Gabe Taylor, Keating, Jeffrey Skoblow
Photo by Valerie Goldston
YoungLiars

YoungLiars are back, and they’re as unconventional as ever, with a new, revised production of a show they’ve performed before, with the intriguing title Whammy! The Seven Secrets to a Sane Self. Like other works this company has performed, this production is solidly in the “experimental” category, and it’s certainly unique. It plays out as more of a series of sketches than a linear story, highlighting the comedic and dramatic skills of the talented ensemble.

It’s difficult to categorize this show. It starts out as something of a stream-of-consciousness sketch comedy, but the subject matter gets darker as the show plays out. There are some hilarious moments, some absurd moments, and some downright tragic tales told here. Subtitled “The Seven Secrets to a Sane Self”, the show is something of a free-form examination of various elements of the self-help movement, with credited inspiration from a number of well-known and lesser-known authors including Tony Robbins and Dr. Phil. The six-member ensemble (Maggie Conroy, Frankie Ferrari, Michael Cassidy Flynn, Keating, Jeffrey Skoblow, and Gabe Taylor) shows off a range of skills, as movement is a large part of the show, from 60s-style dancing to comedic “acrobatics” with chairs, and more. There are also a few running sequences, such as one in which cast members are paired up to ask each other questions about kissing, with a mostly comic tone that turns truly bizarre in the last of these pairings. All the cast members except Skoblow are clad in white costumes, with Skoblow decked out in a black-and-white ensemble and a pair of steampunk-ish goggles. There are movement exercises, monologues, and moments of dancing. There are some potentially disturbing sequences as well–the production has posted a trigger warning concerning topics of depression and suicide, as well as a loud gunshot during the show. It’s impossible to describe this show adequately and do it justice. Essentially, it’s an experience, running the gamut of emotions and philosophies and  displaying their considerable comic timing and sheer emotional range.

The staging is energetic and well-paced, with a confrontational tone on some occasions and some engagement with the audience at times. Every cast member is excellent, and this is truly and ensemble work, with an excellent sense of cooperation and chemistry between the actors. The sound by Chuck Harper, lighting by Theresa Kelly, and costumes by Maggie Conroy are striking, as well, fitting the production well into the performance space in a ballroom at the Centene Center for the Arts.

This is a truly bizarre show, but also truly thought-provoking and memorable. It’s probably not for everyone, and will especially appeal to fans of experimental theatre. It’s inventive, energetic, and clever, with a first-rate ensemble. Oh, and not to spoil anything, but there’s a reason that there’s a picture of a banana on the program. Remember the banana!

YoungLiars is presenting Whammy! The Seven Secrets to a Sane Self at the Centene Center for the Arts until October 5, 2019

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Fifty Words
by Michael Weller
Directed by John Pierson
St. Louis Actors’ Studio
September 20, 2019

Isaiah Di Lorenzo, Julie Layton
Photo: St. Louis Actors’ Studio

St. Louis Actors’ Studio’s new season is titled “2 to Tango”, featuring a complete line-up of two-character plays. This concept strikes me as a particularly strong opportunity to highlight the dynamics of various relationships as well as serving as a showcase for actors. The season’s first offering, Michael Weller’s  Fifty Words certainly provides that showcase, with an excellent pair of actors displaying their range in the portrayal of a complex and often combative marital relationship.

There isn’t much, if anything, in this story that hasn’t been done before in other “marriage story” works, and the revelations that enfold in this play aren’t entirely surprising. Still, the plot isn’t as much the point here. This show is more about power dynamics, and what makes this relationship tick, and I think it does manage a sort of surprise near the end, depending on the viewer’s perspective. It follows a married couple, Adam (Isaiah Di Lorenzo) and Jan (Julie Layton), both professionals who are devoted to their careers, as well as parents of a young son who is out of the house spending the night away at a friend’s house for the first time. Adam and Jan apparently haven’t had an evening alone together since their son was born, and they are trying to make the most of the time, although they appear to have different agendas. Adam seems to be all about making the most of the romantic (and sexual) possibilities of the evening, while Jan seems to be more focused on finishing an important project for work. Their contrasting personalities–the more spontaneous Adam and the more goal-focused Jan–are a catalyst for some of the drama, but as more information is revealed about Adam’s upcoming business trip, about their history as a couple, and about their approaches to parenting, more is revealed about both characters and the nature of their relationship. It’s an exploration of the challenges of modern married life and the conflicting commitments of parenting and career, as well as looking at some of the more stereotypical assumptions that come from those commitments for husbands and for wives. Through the course of the evening, there are ups and downs, revelations and reactions, confrontations and contrasts, but overall this is a game of balances and who, ultimately, holds the power in the relationship.

This is a fine character study, with some intense moments, although both characters aren’t particularly easy to like. Still, this script has some sharp insights into what a marriage between these two personalities would be like, and it’s a particularly strong showcase for the performers, who in this production are both superb, and impressively well-matched. Di Lorenzo brings the calculating, trying-to-be-charming energy and Layton’s more initially aloof exterior carries a range of emotions below the surface. The combination of the two is dynamic, occasionally volatile, and entirely credible. The drama here is these two, and both performers rise to the challenge of the script, providing the play’s emotional weight in the varacity of their relationship.

The production values are, as is usual for STLAS, excellent. I’m continually impressed by how well this company uses its small stage space, here recreating a small-ish New York apartment with care and detail in Sammy Kriesch’s meticulous set. There’s also excellent work from lighting designer Steve Miller, sound designer John Pierson, props designer Jenny Smith, and costume designer Andrea Robb. Pierson’s staging is well-measured, bringing out the gradually building tension of the piece and the relationship.

I’m looking forward to the rest of the season from STLAS. There are some intriguing productions lined up. The starter, Fifty Words, is essentially successful in the pure strength of the casting and the dynamic between these two caustically contrasting characters. It’s worth seeing for the sheer quality of the performances.

Julie Layton, Isaiah Di Lorenzo
Photo: St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Fifty Words at the Gaslight Theatre until October 6, 2019

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A Model For Matisse
by Barbara F. Freed and Joe Hanrahan
Based on the Documentary Film Written and Directed by Barbara F. Freed
Directed by Ellie Schwetye
The Midnight Company
September 19. 2019

Rachel Hanks, Joe Hanrahan
Photo by Todd Davis
The Midnight Company

Joe Hanrahan’s Midnight Company has been known mostly for its one-man shows starring Hanrahan, although occasionally they have done some works with two or more performers. The company’s latest offering, A Model For Matisse, signifies a collaboration for Hanrahan in more ways than one, since he is not only the co-star but also the co-writer of the piece. It’s a fact-based exploration of an important relationship in the life of a well-known 20th Century artist, as well as other intriguing issues that arise from that friendship. It’s a well-cast production and a well-chosen subject, providing not just entertainment but also education for its audiences.

According to the press materials for the show, Hanrahan sought to create this play after seeing a documentary of the same name that was written and directed by Barbara F. Freed. After contacting Freed to get permission to adapt the film, Hanrahan not only got the rights; he ended up collaborating with Freed on the script, which has now had its world premiere with this production. It tells the story of the later years of famed French artist Henri Matisse (Hanrahan), and his significant friendship with the young nursing student Monique Bourgeois (Rachel Hanks), who modeled for several of his paintings and later joined a Dominican order of nuns and became Soeur Jacques-Marie. The play also covers the design and construction of the Chapel of the Rosary in Vence, France, for Soeur Jacques-Marie’s order. The sister and the artist worked together on the project, with the sister serving as a significant consultant and source of inspiration. The story shows the development of the relationship and the conflict between both characters’ different outlooks on life, which serves as reflection of the overall conflict between the influences of traditional religious views and the increasing influences of modernism in Western culture in the mid-20th Century.

The show is a fascinating portrayal of two contrasting characters and the close bond they form. It also serves to highlight the work of Matisse for those for whom the artist’s work–and especially his later work–isn’t especially familiar. The casting is ideal, with Hanrahan bringing a warmth and thoughtfulness to his role as the ailing, occasionally disillusioned but increasingly determined Matisse, and Hanks bringing likable energy to her role and also providing compelling narration to the story as it unfolds. Their story is fascinating and informative, aided by an excellent technical production including stellar projection design by Michael B. Perkins, as well as excellent costumes by Liz Henning and sound design by director Ellie Schwetye, and evocative lighting by Tony Anselmo. Schwetye’s staging is well-paced and inventive, as well, making for a memorable, informative and relatable production.

Although I had heard of Henri Matisse before seeing this show, I didn’t know this particular story, and I suspect a lot of people seeing this play would be in the same position. This show, with an intelligent and lively script from Freed and Hanrahan, sheds light on a perhaps less-known aspect of the artist’s life, bringing to light an important friendship that had a profound influence on him. These two characters are brought to life with clarity by the show’s ideally cast lead performers, providing a fascinating look at art, artists, European life in the mid-20th Century, and more.

Rachel Hanks, Joe Hanrahan
Photo by Todd Davis
The Midnight Company

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