Posts Tagged ‘review’

Audience Howls With Laughter at NJT’s Cleverly Staged “Baskerville”

Posted in St Louis Theatre, tagged , , , , , , , , on November 28, 2025| Leave a Comment »

Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery
by Ken Ludwig
Directed by Nisi Sturgis
The New Jewish Theatre
November 20, 2025

Nick Freed, Bryce A. Miller, John Wilson, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

It may be based on an iconic mystery series and its characters, but there’s no mystery about the appeal of Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery, as staged at The New Jewish Theatre under the direction of Nisi Sturgis. With clever staging, a sharp script, brisk pacing, and an excellent, enthusiastic cast, this tale of intrigue and mystery on the moors of Victorian England has its audience howling with laughter. The appeal is enhanced by great production values, and some fun audience participation gags. 

The story is framed in a similar way to the popular comedic staging of Patrick Barlow’s adaptation of  John Buchan’s The 39 Steps, but based on the even more well-known stories of celebrated detective character Sherlock Holmes (Nick Freed) and his intrepid assistant, Dr. Watson (Bryce A. Miller).  This one is based on the classic story The Hound of the Baskervilles, in which the two are enlisted to help on case involving a murder on the moors bordering a country estate, as the proprietor has been killed in a manner that mirrors an old legend in the Baskerville family, involving a giant, ferocious dog. Watson narrates the story, and takes the principal role, although Holmes still figures prominently, and three performers billed as Actor One (Sean C. Seifert), Actor Two (John Wilson), and Actress One (Alicia Revé Like) each play a variety of roles as the story takes the crime-solving duo from the streets of London to the Devonshire countryside on a caper that involves old legends, romance, sinister plots, murder, and all kinds of intrigue.

Like The 39 Steps, this story has been framed as a comedy, with much of the humor coming from the multi-casting elements and quick pacing, along with a clever script that covers all the familiar beats of a Holmes story but streamlines it to emphasize comic elements and provide many elements to showcase the versatility of the performers.  It’s a fun show, and I’ve seen an excellent production in St. Louis before, a few years ago. At NJT, what stands out this time is the audience participation element, as well as several self-referential and “breaking the Fourth Wall” moments that add much hilarity to the proceedings. The cast members are kept on their toes by the pacing, and they handle the workout with much energy and quick thinking, resulting in a  hilarious evening of suspense and riotous laughter, with a haunting gothic-styled backdrop of dramatic music and excellent production values. 

The creepy, haunting, suspenseful tone of the proceedings are greatly enhanced by means of a marvelously versatile and deceptively simple set by Reiko Huffman that consists of quick-change set pieces and various movable elements on wheels, all painted and styled in suitable Victorian fashion. And speaking of fashion, Michele Friedman Siler’s costumes do a great job of outfitting the characters, working well with fast character changes, and maintaining the 19th Century mood and style. There’s also strong work from lighting designer Katherine Stepanek, keeping the tone dark and haunting while making everything clearly visible to the audience and in keeping with the heightened comic tone.  There’s also a memorable soundtrack and music designed and composed by Victoria Deiorio, recreated with flair for this production by Ethan Foss.

The cast that has been assembled here is nothing short of fantastic, led by Miller in a charming turn as the determined and often bewildered Watson, who is essentially the heart of this story. Freed is also effective and thoroughly credible as the mysterious but almost infuriatingly competent Holmes, and this duo’s interactions form much the humor here, although the three support players carry much of that weight as well. Miller also has easy rapport with Wilson’s most prominent character, the amiable Texan heir to the estate, Sir Henry Baskerville, who also has excellent moments with Like as the conflicted Beryl, with whom Sir Henry becomes smitten. Wilson also excels in his other roles, such as the grumpy Detective Lestrade, and Siefert and Like each play a variety of characters with enthusiasm and distinction, with Siefert as the mysterious Jack Stapleton and supportive Dr. Mortimer, and Like memorable as the sympathetic Beryl and persistent young Cartwright, who helps Holmes on the case in London. There’s so much energy in this show, and the rapport the performers have with one another and with the audience contributes to the overall enjoyment here, with a few wardrobe mishaps being covered well and adding to the humor to the point in which it’s not entirely clear if they really were mishaps or if they were planned. The building suspense and overall gothic tone is well-maintained by the cast as well, providing much in entertainment value.

“Entertaining” is a great word for the overall experience here. That, and “fun”, for the audience and apparently for the cast as well. I also appreciate the staging with the audience divided and the performance area in the middle, which is a format this company has used before to excellent effect. For Sherlock Holmes fans, I think this show would be especially appealing, although there’s enough broad appeal for anyone. It’s a good way for NJT to end their season with a flourish, and a roar of laughter from their audience. 

Sean C. Seifert, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery at the J’s Wool Studio Theatre until December 7, 2025

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First Run Explores Relationship Drama in Promising New “Deposition”

Posted in St Louis Theatre, tagged , , , , , on November 21, 2025| Leave a Comment »

Deposition
by Amy Hanson
Directed by Taijha Silas
First Run Theatre
November 15, 2025

Abbie Thornton, Nachalah “Catie” Duclerne, Amie Bossi, Deb Dennert, Ryan Lawson-Maeske, Bill Burke
Photo: First Run Theatre

First Run Theatre’s latest premiere production, Deposition, explores a fractured relationship from various sides. With clever use of flashbacks and fantasy sequences, the show presents an intriguing look at the end of a marriage as well as repeated patterns in the husband’s relationships. Although the production itself has its ups and downs, for the most part this is an intriguing and promising new work featuring several memorable performances.

Acrimonious divorces are the fodder for many popular stories, from Kramer vs. Kramer  to Divorce Court and more, spanning genres from comedy to drama to “Reality TV” and beyond. This show, currently being staged at the Kranzberg Arts Center under the direction of Taijha Silas, seems to be largely in the vein of “dramedy”, with serious moments punctuated with some sharp humor. The story follows long-married couple Jackson Fields (Bill Burke) and his soon-to-be ex-wife Lucy Fields (Ami Bossi), who are working with their attorneys (Deb Dennert as Lucy’s lawyer, Ryan Lawson-Maeske as Jackson’s), with famous writer Jackson hoping to be able to reach a settlement before the case can come to trial. Lucy, however, apparently has other plans, hoping to raise issues of patterns in Jackson’s behavior and relationships, and she is obviously angry and hurt. The set-up is fairly straightforward, taking place in a law firm conference room, but there are clever conceits that help to tell the story beyond the basic “he said, she said” bickering. Through the use of flashbacks and fantasy sequences, a more clear picture of the roots of this fractured relationship are explored, especially from Jackson’s point of view.

It’s an intriguing character exploration, although there are a few elements that could be worked on. For instance, I understand the “double casting” convention in which characters from Jackson’s past are played by actors who also play characters involved in the deposition, like the Court Reporter/Young Lucy (Abbie Thornton), Jackson’s Attorney/Young Jackson, Legal Assistant/Zadie Martin (Nachalah “Catie’ Duclerne), and Guardian ad Litem/Suki (Carmen Russell), but some of the legal characters–especially the Guardian ad Litem–aren’t given much to do and come across as plot devices more than characters. Also, while the lead characters have intriguing moments, the focus here is primarily on Jackson, which isn’t a problem in itself although Lucy’s character isn’t quite as developed as it could be.

The flashbacks and fantasy sequences are the real highlight here, especially a scene later in the play that features Jackson’s first wife Suki and former student Zadie. This scene is the best moment for Burke’s self-centered but occasionally charming Jackson, and also highlights strong performances from Duclerne as Zadie and especially Russell–the biggest standout in the cast–in a scene-stealing role as Suki, whose appearance is powerful and revelatory, carrying much of the show’s emotional weight. There’s also a fine performance by Dennert as Lucy’s attorney, and Bossi does well with the difficult, somewhat underwritten role of Lucy, although both of these performers have moments of muffed lines that I hope will be improved as the performances continue. Lawson-Maeske is impressive in a versatile turn as Jackson’s smarmy lawyer and as the younger Jackson in a flashback, well-matched with Thornton as the younger Lucy in the early days of their relationship. 

The set by Brad Slavik is fairly basic, but effective, with a realistic recreation of a law-office conference room and a set-off area to the side where most of the flashbacks take place. The lighting by Joel Wilper is especially effective in the fantasy sequences, and there’s also fine work from sound designer Jen Ciavarella. Tracey Newcombe’s costumes outfit the characters well, suitably reflecting their personalities. 

For the most part, Deposition is a cleverly structured story that held my attention more than I had expected, since I often tend to find divorce dramas depressing and overdone. This one finds angles for intrigue and character exploration that can be further developed with some more work, although this production from First Run is a fine showcase with a good cast. Although some of the characters–especially Jackson–aren’t especially likable, this play has done a good job of making them interesting. It’s a work in progress, but with strong potential. 

Carmen Russell, Bill Burke
Photo: First Run Theatre

First Run Theatre is presenting Deposition at the Kranzberg Arts Center until November 23, 2025

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Upstream’s “Orchard for Chekhov” is a Bittersweet, Thoughtful Showcase for Strong Cast

Posted in St Louis Theatre, tagged , , , , , on November 14, 2025| Leave a Comment »

An Orchard For Chekhov
by Pedro Brício
Translated by Steven K. Smith
Directed by Philip Boehm
Upstream Theater
November 8, 2025

Sally Edmundson, J. Samuel Davis
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s mission of bringing thought-provoking plays from around the world to St. Louis is continuing with their latest production, An Orchard for Chekhov, by Brazilian playwright Pedro Brício, translated by Steven K. Smith and directed by Philip Boehm. This intriguing show examines the relationships between fantasy and reality, the arts and the harsh realities of life, along with culture clashes and familial struggles. Featuring a strong cast led by two especially memorable performances, it’s an intriguing, thoughtfully staged show.

The play is led by a truly dynamic and richly characterized performance by Sally Edmondson as Alma Duran, a well-known stage actress who is between jobs and has come to stay with her daughter Isadora (Jocelyn Padilla) and son-in-law Otto (Aaron Orion Baker) in their small apartment in Rio de Janeiro. Alma, who is hoping to soon star in a production of Anton Chekhov’s The Cherry Orchard, has taken on a young theatre student, Lalá (Sarah Wilkinson) in order to make some money while she’s between roles. As physician Isadora and police captain Otto deal with issues in their relationship, and Isadora worries about her mother’s health, the future of Alma’s upcoming production comes into doubt, and Alma finds herself wandering the grounds of her daughter’s building, where she meets a mysterious man (J. Samuel Davis) who claims to be Chekhov himself, and despite Alma’s initial skepticism, the two form a friendship, giving Alma some hope while the rest of the characters–and especially Isadora–continue to worry about her. What ensues is a blend of comedy and drama with hints of tragedy, kind of like The Cherry Orchard, and–in the hands of the excellent cast and direction–an ideal acting showcase for its leads.

As previously mentioned, Edmundson gives a marvelous, well-rounded performance as Alma, balancing humor and drama well and making the most of the dialogue with her deep, melodious voice. Alma is the heart of this story, and Edmundson makes the most of that fact with a likable, relatable turn as an aging performer looking to maintain her career and her theatrical vision. Davis is also a joy as Chekhov, who may be a vision or an impostor or a figment of Alma’s imagination, but whatever he is, his chemistry with Edmundson is delightful, and his presence drives important aspects of the plot. These two are the biggest standouts, but the rest of the cast is also strong, although the part of Isadora seems a bit one-note, although that seems to be more of a writing issue, and Padilla makes the most of the role. Baker is memorable finding the sympathy in the troubled Otto, and Wilkinson has a fine turn as the hopeful young talent, Lalá, coming across as both passionate towards her goals and compassionate toward Alma and her family. 

The creative team does an excellent job of creating the world of the show, as well, with Patrick Huber’s vivid set credibly creating the vibe of an urban beachfront condo development, and Jamey Pearson’s scenic painting,  Steve Carmichael’s lighting and Kristi Gunther’s sound help further the mood and setting. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the characters appropriately, especially in the stylish flair of Alma’s outfits, which say a lot about her character and personality. Kudos also go to samba consultant Márick Starick, as the dance elements add much to the overall atmosphere of show.

Overall, while there are a few issues involving the interweaving of some of the plots and communicating of some background information, An Orchard for Chekhov is a fascinating, well-characterized play with a first-rate leading performance. It explores aspects of Brazilian culture as well as life in the theatre, and themes from Chekhov that parallel the main story. It may be helpful to read or see The Cherry Orchard before seeing this play, or at least read a synopsis. Again, I can’t say enough about the quality of the performances here, especially Edmundson and Davis. It’s a master-class in acting, as is fitting for a show about theatre. 

Sarah Wilkinson, Jocelyn Padilla
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting An Orchard for Chekhov at the Marcelle Theatre until November 23, 2025

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STLAS’s “Search for Signs” Finds Energy and Heart in Excellent Solo Performance

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

The Search for Signs of Intelligent Life in the Universe
by Jane Wagner
Directed by Wayne Salomon
St. Louis Actors’ Studio
November 7, 2025

Michelle Hand
Photo by Patrick Huber
St. Louis Actors’ Studio

The Search for Signs of Intelligent Life in the Universe started out as a celebrated Broadway showcase for famed television star Lily Tomlin. Debuting in 1985 and written by Tomlin’s longtime partner/collaborator and now wife Jane Wagner, the show received excellent reviews and won awards for both Tomlin and Wagner. At St. Louis Actors’ Studio, this show is being staged now with a celebrated local performer as its headliner,  featuring the remarkably versatile talents of Michelle Hand, under the strong direction of Wayne Salomon, it’s fairly easy to forget this show was written with a different star in mind. Although there are certainly dated references that tie it to its original time, Hand makes the role her own and brings out the sensitivity and humor of the cleverly constructed script.

Playing a variety of characters in a series of cleverly interconnected vignettes, Hand is a marvel of comic and dramatic versatility. Introducing the show as upbeat New York City “bag lady” Trudy, she introduces the theme, as Trudy lets the audience in on a little expedition in which she is involved, escorting a group of unseen extraterrestrials on a step of their cosmic mission to find evidence of intelligent life. As Trudy recounts her exploits, we get to meet a series of other NYC denizens of various classes, ages, and stations in life, from the teenage Agnus Angst, to upscale socialite Kate, to ditzy Chrissy, to opinionated “working girls” Brandi and Tina, to a trio of feminist friends–Lyn, Edie, and Marge–as Lyn reminisces about their friendship, lives, and activism at a pivotal moment in her life.

The setting is primarily the mid-1980s, and the show reflects this setting in both subject matter and format, often reminding me of a television sketch show, and some references I had to look up, because although I was a teenager in 1985, a lot has happened in terms of trends and attitudes since then. I imagine younger audiences might have a bit of a struggle understanding some references, although the general themes here are still relatable, featuring timeless themes like finding one’s purpose in life, the goals and roles of women, friendship, parent-child relationships, and more.

The language is sharp and engaging, and the plots are cleverly woven together, but what especially makes this show work is its star. Hand is simply brilliant, likable, and convincing, adept at both comedy and drama, and able to present the various distinct characters convincingly. I’m especially impressed by how Hand is able to conduct conversations between characters and switch roles seamlessly, as well as projecting a strong likable presence across the board, with all the characters but especially in the two most prominent portrayals, the eccentric Trudy and the conflicted but still hopeful Lyn. It’s a tour-de-force for the consistently excellent Hand, who is already a consistent, award-winning performer so I was expecting a strong performance, and she certainly delivers. 

The technical aspects of this show are almost deceptively simple, but work especially well in highlighting Hand’s fantastic performance. Patrick Huber’s simple set and colorful lighting, along with Andy Cross’s vibrant scenic painting provide an ideal backdrop for the story. There’s also strong work from costume designer Meredith LaBounty, who provides a simple but memorable outfit for Hand, along with some fun accessories.  The show works especially well in STLAS’s smaller space at the Gaslight Theatre, even more bringing Hand’s talents to the forefront.

The Search for Signs of Intelligent Life in the Universe is a show I had heard of before, but had associated primarily with Lily Tomlin. This thoughtful production at St. Louis Actors’ Studio has changed that association for me, or at least added to it. Michelle Hand is an ideal lead, and her performance is well worth seeing. I think people who remember New York in the 1970’s and 80’s might especially enjoy the show, although younger audiences will have Hand’s superb performance to enjoy, and just might get a useful history lesson. 

Michelle Hand
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Search for Signs of Intelligent Life in the Universe at the Gaslight Theater until November 23, 2025

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Powerful “Brothers Size” at the Rep Takes Stage with Strong Acting, Fluid Movement

Posted in St Louis Theatre, tagged , , , , , on October 28, 2025| Leave a Comment »

The Brothers Size
by Tarell Alvin McCraney
Directed by Jacqueline Thompson
Choreographed by Kirven Douthit-Boyd
The Repertory Theatre of St. Louis
October 24, 2025

Nic Few, Christian Kitchens
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Brothers Size is unique, while at once being both specific and universal. The newest show in the Rep’s Steve Woolf Studio Series, this haunting, lyrical play tells a story of mythic scope, that is also highly personal, gritty, and challenging. It’s also a wonder of acting, movement, and stagecraft. 

The play, which is part of a trio of works by playwright Tarell Alvin McCraney, follows two brothers living in Louisiana–the older, Ogun (Nic Few), and the younger Oshoosi (Christian Kitchens). Ogun, a mechanic who owns an auto shop, is focused on work and duty, while Oshoosi–who has recently been released from prison–is full of dreams and nebulous plans, which only increase Ogun’s concern for him. There’s also Elegba (Donald Jones Jr.), a friend of Oshoosi’s from prison whose presence further unsettles Ogun while tempting Oshoosi to more risky aspirations and actions. It’s a story of multiple issues on different levels–familial, interpersonal, cultural, and societal, and a growing sense of unsettling inevitability about what’s going to unfold. 

It’s a gritty, intense tale, taking a mythic structure combining elements from the West African Yoruba belief system with occasional Christian references and a general overarching spiritual tone, told in a form that combines elements of music and dance to heighten the overall “cosmic struggle” theme and atmosphere. Music and sound by composer Tre’von Griffith and smooth, flowing choreography by Kirven Douthit-Boyd combine expertly to help tell this story and emphasize the emotion and conflict. There’s also powerfully effective lighting by Jayson M. Lawshee and memorable costume design by Kristie C. Orsi that works to help define the characters and further the story and themes. The staging, in the round with no concrete set, is almost deceptively simple,  working to powerful effect as director Jacqueline Thompson’s pacing builds the tension and sense of motion in the story.

The cast is fantastic, led by a strong turn by Few as the devoted but strict Ogun, and Kitchens as the restless, more carefree Oshoosi. Few has a powerful stage presence and credible sense of love and exasperation with his brother. Kitchens brings a sense of youthful energy to Oshoosi that adds relatability to his recklessness. These two also present a believable, affecting brotherly relationship. Jones is also a strong presence as the enigmatic, ineffable Elegba, and all three players are excellent in movement and energy, exhibiting a fluid energy that propels the drama. 

There are a lot of weighty issues dealt with in this show, and some strong language and topics that aren’t for all ages. It’s an important story in terms of human struggle, as well as highly specific to the characters and their situation, and intensely personal. It also features a host of local talent on the creative team, which is great to see. The Brothers Size is a play that will make audiences think, as well as feel. It’s a profound experience of theatre.

Donald Jones Jr., Nic Few, Christian Kitchens
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Brothers Size until November 16, 2025

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Albion Brings Immediacy, Emotion to “I Have Been Here Before” with Great Cast, Thoughtful Staging

Posted in St Louis Theatre, tagged , , , , , on October 21, 2025| Leave a Comment »

I Have Been Here Before
by J.B. Priestley
Directed by CJ Langdon and Robert Ashton
Albion Theatre
October 17, 2025

Dustin Petrillo, Bryn McLaughlin, Jeff Kargus
Photo by John Lamb
Albion Theatre

British playwright J.B. Priestley’s 1937 work I Have Been Here Before, as staged by Albion Theatre under the direction of CJ Langdon and Robert Ashton, is a time trip in more ways than one. In one sense, it takes its subject seriously and stages it with credibility and emotion, featuring an excellent local cast. In another sense, it’s a fully realized “world”, bringing the audience into the mindset and atmosphere of 1930s Europe with clarity and thoughtful attention to detail.

The show is one of Priestley’s “Time Plays”, in which the playwright explored various theories of the concept of time. In this one, influenced by the theories of Russian philosopher P. D. Oupensky, the concept of time as recurrent is expounded through the character of exiled German professor Dr. Görtler (Garrett Bergfeld), who has come to a small Yorkshire inn and pub on an “experimental” outing, soon meeting the staff and guests and serving as a subject of interest for some, and disturbance for others. Everyone has their concerns and interests apart from the Doctor’s philosophies, as well. Sam (Robert Ashton) and his widowed daughter Sally (Anna Langdon) are interested in being hospitable hosts, and Sally is particularly concerned for her unseen son Charlie, who is away at school. The two are initially hosting Oliver Farrant (Dustin Petrillo), the young headmaster of Charlie’s school who has been advised to take some time off to rest. Soon, they are joined, apparently by chance, by the wealthy Walter Ormund–who serves on the school’s Board of Governers–and his much younger wife, Janet (Bryn McLaughlin), after being predicted to do so by the mysterious but friendly Dr. Görtler.  Soon, a web of intrigue develops, as the characters’ lives become intertwined and the uncertain mood of the era is reflected in their backstories and choices. Suspicion, fear, regret, longing, and hope are mingled in the stories of this small group of characters who may or may not be bound to an ominous and bleak future fate. 

This is one of those stories that strikes me as fairly easy to do “wrong”–that is, to make it dull and plodding and lost in conjecture and stiff staging. Fortunately, this production is about as “right” as I can imagine, with a perfectly chosen cast and thoughtful, well-paced staging that brings out the emotion of the story and emphasizes the emotions and longings of the characters without melodrama or stereotyping. The well-crafted performance of all are to be commended, anchored by Bergfeld in an intelligent and compassionate turn as Görtler, and by Kargus at his best as the upper-class Walter, who gradually reveals much more to his seemingly stiff, distracted, hard-drinking character upon interacting with the gently insistent Görtler. These two form the emotional center of the story, which also features memorable performances from Langdon as the conflicted Sally, Ashton as the easy-going Sam, and McLaughlin and Petrillo as Oliver and Janet, who are both trying to avoid what seems to be an inevitable fate while professing contrasting reactions to Görtler’s professions. 

This excellent cast is given a lot to work with by the excellent sense of theming and atmosphere achieved through the work of a meticulous design team. The set by Brad Slavik and scenic design by Rachel St. Pierre provide a realistic and well-appointed backdrop for the action, appropriately lit by lighting designer Eric Wennlund. Tracey Newcomb’s costumes are well-chosen for the characters and era, and Leonard Marshall’s sound also adds much in the way of period atmosphere. 

I Have Been Here Before is an almost 90-year-old play, given much immediacy and relatability by Albion’s excellently staged production. The sense of uncertainty of the times lends much drama to the “time” aspects, as well, and there’s a lot here to think about that’s not always directly spelled out, but is still conveyed with clarity. Albion has quickly become one of St. Louis’s more consistent theatre companies in terms of quality, and this show is another memorable example of that reputation. 

Anna Langdon, Jeff Kargus, Robert Ashton, Garrett Bergfeld
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting I Have Been Here Before at the Kranzberg Arts Center  until November 2, 2025

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Contraband’s “Professor House” is a Fascinating Unfolding Mystery

Posted in St Louis Theatre, tagged , , , , , on October 16, 2025| Leave a Comment »

Professor House
by Jacob Juntunen
Directed by Sam Hayes
Contraband Theatre
October 11, 2025

Cast of Professor House
Photo by Jennifer A. Lin
Contraband Theatre

Contraband Theatre and playwright Jacob Juntunen revisit some themes in their latest production, Professor House that had previously been addressed in their excellent show, See You In a Minute, although the tone and general purpose seem to be quite different. This is also a play set in the future, addressing climate change and a future pandemic, but the tone is generally darker. It’s a story that’s hard to describe without giving too much away, but I will say that it’s at once intense, fascinating, and cleverly staged.

The show begins with Peter (Ben Ritchie) a Mizzou English professor, in the cluttered attic of his home, which has become something of a refuge for him. He’s speaking to Tommi (Maida Dippel), who may or may not be a ghost. Soon, we also meet his wife Lillian (Claire Coffey), who is also a professor, but of math; and his adult daughter, Rosamund and Rosamund’s enterprising spouse, Louie (Ron Baker), who are trying to convince Peter to move to a new house that has been built for them, but Peter is reluctant, and we’re not exactly sure why, at least at first. The rest of the story unfolds in a series of confrontations, reflections, flashbacks, parallel scenes, and wanderings that eventually coalesce into a heartfelt tale of relationships, regret, loyalties and betrayals, and the struggle to move on from tragedy. There’s also a recurring theme of climate change and corporate greed vs. community responsibility. 

For the most part, this is a remarkable show. There are a few details I wish were better shown (like why Peter is so attached to Tommi, for instance), but it’s still a fascinating, thoughtfully staged and constructed work of theatre. The acting is fantastic, especially by Ritchie as the melancholy Peter and Dippel as in the especially difficult role of Tommi, whose character evolves somewhat throughout the play as we get to know more about them. Coffey is also memorable as the supportive Lillian, and Harvey and Baker are also convincing and sympathetic as Rosamond and Louie. There’s also a fine performance by Tiajha Silas in a smaller but significant role as Willa, who plays an important role in Tommi’s story.

This is a play that’s alternately dramatic, humorous, mysterious, and moody, and the production values work especially well along with the performances in conveying those shifting and evolving tones. The show also uses the performance space in the Chapel to its maximum potential, creating a world that’s thoroughly believable and partially immersive. Erik Kuhn’s set is meticulously crafted, aided by excellent work from Katie Orr on set dressing and props. The lighting by Theresa Comstock and sound by Ellie Schwetye also contribute much to the atmosphere here, and the costumes by Jen Blum-Tatara suit the characters well.

The overall mood here is striking, with strong pacing and staging by director Sam Hayes and fully realized characters who aren’t always what they first appear to be. There’s an air of discovery about this show that’s well-realized in the overall production, and intriguing and intensely personal themes. Professor House may be a difficult show to describe, but the wonder of discovering it as it happens is well worth the effort. It’s another profoundly impressive theatrical work from Contraband Theatre.

 

Ben Ritchie
Photo: Contraband Theatre

Contraband Theatre is presenting Professor House at The Chapel until October 25, 2025

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“Woman in Black” Frightens with Precise Direction, Clever Staging at the Rep

Posted in St Louis Theatre, World Theatre, tagged , , , , on October 16, 2025| Leave a Comment »

The Woman in Black
Adapted by Stephen Mallatratt
Directed by Robin Herford
Repertory Theatre of St. Louis
October 10, 2025

Ben Porter, James Byng
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is continuing the seasonal trend of hauntings, thrills, chills, and mystery in theatrical productions with their hosting of the Original London Production of The Woman in Black. While I do find myself wishing for a more “home grown” production, I do have to say that the production is a chilling, precisely staged horror classic. With a great cast and truly dazzling production values, it’s a clever production that fits in nicely with the Halloween season.

The original London production of this show is somewhat legendary, having run for over 30 years and spawning touring productions like this one. It casts three players who rotate in the roles. On Press Night, I saw James Byng as the Actor and Ben Porter as Arthur Kipps, an aging lawyer who has a spooky story to tell, but lacks the dramatic ability to tell it in the way he wishes. He has hired the Actor to help him, and after some false starts, they begin in earnest, with the Actor playing the younger Kipps and Kipps playing the other roles in the story. According to his tale, Kipps was a young attorney who was assigned by his employer to attend the funeral of a longtime client–a reclusive widow–and find and sort through the paperwork dealing with her estate. He then heads off to a remote small town where the residents all seem afraid whenever Kipps mentions his business. Nobody wants to go to the late Mrs. Drablow’s residence, Eel Marsh House, insinuating that bad things happen to those who do go there. After he eventually arrives at the house, he’s able to piece together a story of a mysterious Woman in Black, and endure some bone-chilling experiences involving the house, the legend, and a series of creepy visions that threaten doom for those who witness them, including Kipps himself.

The staging is clever and impeccably timed, with some truly fantastic special effects, and a set by Michael Holt that involves walls that become transparent when necessary, and a suitably theatrical atmosphere for the framing device. The lighting by Anshuman Bhatia and  sound by Sebastian Frost add much to the intensity and terror-building atmosphere of the show, which is paced with chilling determination. Special note should also go to Imogen Finlayson for excellent work with “Vision Productions”. 

The acting is first-rate, with Porter playing the older Kipps and a variety of other roles with remarkable versatility and presence. Byng, as the Actor who “becomes” the younger Kipps, is also excellent, with a relatable energy and credibility. The two work together especially well, lending much to the overall storytelling and intensity of the piece. 

The Woman in Black is at once a chilling horror tale and a love letter to theatre, in both its framing device and overall spectacular stagecraft. While I do hope hosting tours doesn’t become a regular thing for this company (it’s the Rep, not the Fox), it is nice to see a West End show brought to St. Louis with such style and precision.  It’s a well-crafted work of theatrical excellence that works well for this time of year. 

James Byng, Ben Porter
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Woman in Black is running at the Repertory of St. Louis until October 26, 2025

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Royal Intrigue Abounds in Chorus of Fools’ Impressively Revised “Elsinore”

Posted in St Louis Theatre, tagged , , , , , , , , on October 10, 2025| Leave a Comment »

Elsinore
by David Nonemaker and Eric Satterfield
Directed by Eric Satterfield
Chorus of Fools
October 9, 2025

Zach Pierson, Andrew Eslamian, Xander Huber
Photo by David Nonemaker
Chorus of Fools

Creating theatre is a fascinating process, and I feel blessed to have been able to witness the development of new plays over the years, including the latest production from Chorus of Fools. Elsinore, by David Nonemaker and Eric Satterfield, first premiered in a production by Prison Performing Arts Alumni Theatre Company in 2021, and I saw and reviewed that production, noting its promise and the work I thought still needed to be done. The new production, with some of the same creative team and one of the same actors, is still recognizable, but has been impressively revised and refined from that earlier iteration, emphasizing the strengths of the story and character and resulting in a more dramatically satisfying and emotionally affecting prequel to William Shakespeare’s most famous tragedy, Hamlet. 

The story is told in three acts, as opposed to two acts in the previous version. Many of the characters from Hamlet are featured, along with some notable new additions, although the familiar characters start out quite differently from what you may expect. In Act 1, it’s 15 years before the events of Shakespeare’s tragedy, and the elder King Hamlet (John Wolbers) is an imperious, somewhat possessive and nervous ruler, trying to rule Denmark with an iron hand, and is dealing with disappointment in his teenage son Hamlet (Andre Eslamian), whom the elder king regards as “soft” and who is mostly interested in getting up to mischief with his buddies Rosencrantz (Xander Huber) and Guildenstern (Zach Pierson). Young Hamlet often feels closer to his uncle, Claudius (Joseph Garner), and flees to his house to avoid his father’s wrath. Claudius is an advisor to the King and is happily married to Collette (Lexie Johnson), who is expecting the couple’s third child after having lost the first two.  As the king grows more jealous of his son’s bond with Claudius and deals with tension in his marriage to Gertrude (Jocelyn Padilla), Claudius comes up with an idea for how to help young Hamlet, which ultimately begins their gradual estrangement. Meanwhile, the king’s bumbling counselor Polonius (Chuck Brinkley) brings his studious daughter Ophelia (Hannah Geisz) to serve in Gertrude’s court after having returned from an unpleasant time in France. Of course, Ophelia and Hamlet develop a friendship that promises to grow into something more. 

That’s just the first act. The next act jumps ahead fourteen years, and we see how the characters and relationships have grown and changed. We also see the seeds of Claudius’s resentment and ambition, and dramatic events that lead to who he becomes in Hamlet. Clever scripting and intriguing character development make for a story that blends sympathy, humor, and tragedy into a credible “before it happened” tale that makes sense as a prequel for one of the world’s best-known plays. Although this backstory isn’t quite how I would have imagined it, the playwrights have done the work to make it make sense, including allusions and parallels to the “parent play” in ways that seem natural and even poetic. The language is also believably Shakespearean, for the most part, and the characters well-developed. As before, I especially love the interactions between Hamlet and Ophelia, but I find Claudius more intriguing this time as well, and the King is a more well-rounded character, and the developments in Claudius’s family life are more thoroughly explained here. 

The cast is excellent, with Garner a thoroughly convincing Claudius, who goes on a journey from sensitive younger brother/uncle and doting husband and father to ambitious wannabe monarch. Garner brings a degree of nuance to the role as well as a clear progression from sympathetic to scheming and beyond. Eslamian as Hamlet is also strong, portraying a believable sense of growth in the character and fantastic chemistry with Geisz, who is a supremely likable and intelligent Ophelia. There are also strong performances from Padilla as the increasingly conflicted Gertrude, Huber and Pierson as the mischievous Rosencrantz and Guildenstern, and Johnson as Claudius’s gentle wife Collette. Pierson also has a strong turn as Young Claudius, son of Hamlet’s uncle, and Brinkley is a scene-stealer as the bumbling but subtly scheming Polonius. Rose Reiker as Osric and Joe Kercher in several roles round out the cast, with all contributing energy and presence to this intriguing, emotionally involving story. I do somewhat wonder at the play’s somewhat smarmy characterization of Laertes (Kercher), since it doesn’t seem fitting with how the character turns out in Hamlet, but that’s a playwriting/directing issue rather than an acting issue.

The look and atmosphere of the show is notably consistent, with a setting that seems like mid-to-late 19th century in terms of costumes and sets. Celeste Gardner’s costumes are particularly outstanding, with excellent attention to detail and period, and suiting the characters well. The set by Vicki Delmas and Satterfield is also excellent, with a prominent red-and-grey color scheme and a suitably “royal” tone. There’s also good work from lighting designer Bradley Rohlf and sound designer Satterfield, and clever use of memorable music during the intermissions that goes along well with the themes of the play.

Overall, while I enjoyed Elsinore the first time I saw it, the play seems like a much more well-realized vision at this point. Featuring familiar characters and themes, and using them in intriguing and occasionally gripping ways, this is a thoroughly credible story that makes sense as a lead-up to Hamlet. It also fits well into the space at Greenfinch Theater & Dive, and includes a few “spooky” elements in keeping with Halloween season. It’s well worth seeing, and an impressive accomplishment from Chorus of Fools. 

Joseph Garner, Jocelyn Padilla
Photo by David Nonemaker
Chorus of Fools

Chorus of Fools is presenting Elsinore at Greenfinch Theater & Dive until October 19, 2025

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Fantastically Staged “Life of Pi” is a Remarkable Journey at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on October 10, 2025| Leave a Comment »

Life of Pi
Based on the Novel by Yann Martel
Adapted by Lolita Chakrabarti
Directed by Max Webster
Tour Director Ashley Brooke Monroe
The Fox Theatre
October 8, 2025

Taha Mandviwala, puppeteers Anna Leigh Gortner, Shiloh Goodin, Toussaint Jeanlouis
Photo by Evan Zimmerman for MurphyMade
Life of Pi National Tour

Get ready to be dazzled! The Fox Theatre is currently hosting the national tour of Life of Pi, Lolita Chakrabarti’s adaptation of Yann Martel’s celebrated novel, which has also been adapted as a celebrated film in 2012. I had seen the movie, and heard excellent comments about the play, but even the great word-of-mouth and awards won by this show could not have adequately prepared me for what I saw onstage at the Fox. With a fantastic cast led by a truly dynamic lead and truly stunning production values, along with a riveting, poignant story, this Life of Pi is a theatrical marvel.

The story is told in flashback, as teenage Pi Patel (Taha Mandiwala), the only survivor of a shipwreck, is being interviewed in Mexico about his experience by Lulu Chen (Mi Kang) and Mr. Okamoto (Alan Ariano), who are trying to get the true story about what happened to the ship and how Pi survived. As Pi is finally convinced to tell his story, the set shifts and we see where Pi’s story began, in Pondicherry, India in the late 1970s, where Pi and his older sister Rani (Maya Rangulua) have grown up at a zoo run by their parents (Sorab Wadia, Jessica Angleskhan). We learn about the various animals, including a menacing Bengal tiger named Richard Parker (voice by Toussaint Jeanlouis) and an Orangutan named Orange Juice (Angleskhan). We also learn about Pi’s unsual religious beliefs, observing Hinduism, Islam, and Christianity, which help shape his views of what will soon happen to him. As growing unrest in their country leads the family to head to Canada, they pack up their animals and head out on a ship, soon becoming acquainted with the vessel’s crass French cook (Jeanlouis), among others. When the ship inevitably sinks,  Pi finds himself stranded on a lifeboat with Richard Parker, among others, beginning an epic struggle for survival that tests Pi’s faith as well as his physical and emotional limits. 

The sheer physical production of this show is astounding, with a stunningly fluid set by Tim Hatley that creates a colorful, fully realized world that shifts as needed from a sparsely furnished room in Mexico to populous Indian town, to a ship at sea, and to the open ocean surrounded by rolling waves and debris. Andrzej Goulding’s video and animation design complements the set brilliantly, and aided by the dazzling lighting by Tim Lutkin and Tim Deiling and sound design by Carolyn Downing, the audience is brought along on Pi’s eventful journey. There are also excellent costumes by Hatley and a stirring score by composer Andrew T. Mackey. Seated as I was (along with the other critics) in the mezzanine, I was able to witness the full effect of these remarkable production values, and as great as orchestra seats are at the Fox, I recommend sitting higher up for a more immersive experience.

Also worth noting is the truly fantastic puppetry, with marvelous designs by Nick Barnes and Finn Caldwell, and puppeteering by Ben Durocher, Shiloh Goodin, Anna Leigh Gortner, Austin Wong Harper, Aaron Haskell, Jeanlouis, Betsy Rosen, Anna Vomáčka, and Andrew Wilson. The puppeteers blend in with the cast well, bringing these detailed creations to life, including Richard Parker, Orange Juice, Buckingham the goat, Black and White the Zebra, a sea turtle, and more. The cast of human characters work well with the puppets, led by a tour-de-force performace from the magnetic Mandviwala as Pi. It’s a starring role in every sense of the term, and Mandviwala has the presence, wit, intelligence, grit, and energy, along with a dynamic physicality, that is essential in adequately telling this tale. Madiviwala is supported by a strong ensemble with no weak links, as well, with standouts being Jeanlouis as the cook, Wadia as Pi’s stern-but-caring father, and Angleskhan as his devoted mother. The strong ensemble energy adds much to the poignancy and credibility of the story, which blends elements of realism and fantasy in a riveting storytelling journey.

I was somewhat surprised at how many empty seats I saw on press night, considering how fantastic this show is. This is a show that needs to be seen to be believed. It’s a truly astonishing achievement of modern theatre, blending the best in technical theatre advancements and special effects with timeless storytelling and excellent acting. It’s running until October 19th, and I highly recommend checking it out.

Taha Mandivwala (center) and Cast
Photo by Evan Ziimmerman for MurphyMade
Life of Pi National Tour

The National Tour of Life of Pi is running at the Fox Theatre until October 19, 2025

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