Posts Tagged ‘robert ashton’

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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“Colder Than Here” at Albion is a Thoughtful, Well-Cast Darkly Comic Look at Death and Dying

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

Colder Than Here
by Laura Wade
Directed by Robert Ashton
Albion Theatre
June 13, 2025

Livy Potthoff, Susan Wylie, David Wassilak, Anna Langdon
Photo by John Lamb
Albion Theater

Comedies about death aren’t new, but English playwright Laura Wade’s Colder Than Here is an especially clever, thoughtfully constructed one. Currently being staged by Albion Theatre and directed by Robert Ashton, this show features a well-chosen cast and memorable characters whose relationships and emotional journeys are surprisingly relatable. It’s a relatively small cast, but the production leaves a big impression as a weighty topic gets an incisive but sensitive examination. 

What’s the most fascinating to me about this story is the gradual but sure depiction of growth in the characters’ relationships and attitudes as the reality of terminally ill Myra’s (Susan Wylie) impending death gets closer and more immediate. The premise is that Myra has enlisted her daughters–the more erratic, immature Jenna (Livy Potthoff) and the older, more “responsible” Harriet (Anna Langdon) to help her find a “green” burial place for her. She also orders a cardboard coffin that she plans to paint and has clear instructions for her family–including her somewhat prickly, reserved husband Alec (David Wassilak)–about her funeral. As the story starts out, Myra seems a bit more upbeat about the situation than you might expect, although that changes as the story and her illness progress. The various characters have their own ways of coping–or trying not to–with the eventuality of Myra’s death, as Alec immerses himself in the tasks of getting the boiler fixed and repairing a space heater, Jenna deals with a strained relationship with her current boyfriend, and Harriet struggles with Jenna’s neediness and always having to to be the dependable daughter. Over the course of the show, more burial grounds are visited and relationships and attitudes evolve, all told with a witty, occasionally sharp tone that still manages to be believable and thoughtfully handled. It’s clear that there are regrets in this family, and the idea of losing Myra–who is essentially the “glue” of the family–is obviously not welcomed, but it’s also clear that these characters are trying to reach out to one another in their own particular ways. It’s alternately humorous, heart wrenching, and persistently hopeful, and an impressively constructed script.

The characters are embodied in remarkably true-to-life performances led by Wylie as the insistent, earnest Myra, who is clearly the emotional center of her family. There are also strong turns from Wassilak as the guarded but caring Alec, Langdon as the somewhat fussy but also caring Harriet, and especially Pothoff as the initially somewhat grumpy but increasingly involved Jenna. The four make a thoroughly believable family, and the British wit and reserve work especially well in this work, thoughtfully directed by Ashton. Gwynneth Rausch also provides memorable narration of scenes that were originally presented as projections, but (with permission) have been presented here by an onstage narrator.

The sights and sounds of this production add to the overall witty and gently incisive tone of this piece, with versatile set design by Kristin Meyer and evocative lighting by Michelle Zielinski. There’s also strong work from sound and projection designer Ted Drury, particularly in the “grave scouting” scenes. The costumes by Tracey Newcombe are also well done and appropriate for the characters and early 2000’s UK setting, and special kudos go to Jeff Kargus for the construction of the cardboard coffins used in the show.

I had heard good things about Laura Wade’s works before, but I hadn’t been able to see one of her plays until this production. I’m grateful to Albion that such a superbly cast, well-staged version of Colder Than Here has served as my introduction to this talented playwright’s work. It’s another success from the consistently excellent Albion Theatre.

David Wassilak, Susan Wylie, Anna Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Colder  Than Here at the Kranzberg Arts Center until June 29, 2025

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Albion’s “Beauty Queen” Highlights Dark Comedy, Strong Performances

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

The Beauty Queen of Leenane
By Martin McDonagh
Directed by Robert Ashton
Albion Theatre
March 16, 2025

Jason Meyers, Teresa Doggett, Heather Matthews
Photo by John Lamb
Albion Theatre

Albion Theatre has quickly established itself as one of St. Louis’s more consistently excellent theatre companies. With an emphasis on works of British and Irish playwrights, director Robert Ashton and his team have turned their attentions to Ireland with their latest offering, Martin McDonagh’s The Beauty Queen of Leenane. This is a darkly comic, often brutal tale that’s consistent with most of McDonagh’s works, and Albion has staged it with a characterful, snarky tone that emphasizes the energy and excellence of a truly great, memorable cast. 

As is usual for McDonagh’s plays, the characters here aren’t necessarily likable, although they are especially well-drawn and memorable. The focus here is on Maureen Folan (Heather Matthews), a middle-aged single woman who shares a small house in rural Leenane, Ireland with her grumpy, demanding mother Mag (Teresa Doggett). The two share an adversarial relationship, as the insecure Mag does what she can to keep Maureen home with her and taking care of her, since her other two daughters have married and moved out. Maureen resents being tied to her demanding mother, who insists on knowing everything about Maureen’s life and constantly “reminds” her that she’s never found a husband, and most likely never will, despite Maureen’s desperate desire to experience love, romance, sex, and anything that will get her away from her demanding mother. When their neighbor, the talkative and self-focused Ray Dooley (Austin Cochran) stops by to invite them to a “coming home” party for his brother Pato (Jason Meyers), who spends most of his time living and working in London, Mag tries to keep Maureen from finding out, but she does anyway and renews her acquaintance with the awkward but oddly charming Pato. Although they hit it off and share hopes for more of a relationship, of course this is a McDonagh play, and nothing runs smoothly. I won’t say anything else because it would spoil too much, but I will say that just when you think things can’t get any worse, remember who wrote this play and you’ll know that they probably will. 

The characters are meticulously well-drawn and, for the most part, decidedly self-centered, and all are played remarkably well by the first-rate cast. Matthews is alternately gruff and persistently hopeful as the neglected, lonely-but-fierce Maureen, and her scenes with the outstanding Doggett as the irrepressibly meddling Mag are a highlight of this production. Meyers brings a strong air of gawky amiability to the show’s most likable character, Pato, and his chemistry with Matthews is convincing enough to get audiences to hope. There’s also a strong supporting performance by Cochran as the memorably annoying Ray, who plays a surprisingly critical role in the plot. 

The atmosphere and mood of this play are well achieved and maintained by means of Chuck Winning’s well-appointed set, Gwynneth Rausch’s props, and Tracey Newcomb’s well-suited costumes. There’s also strong work from set painter Marjorie Williamson, lighting designer Eric Wennlund, and sound designer Ellie Schwetye. The rural Irish setting and tone of this play is crucial, and the technical aspects work well to transport the audience in a vivid and effective way.

Albion has quickly become one of my favorite theatre companies in St. Louis. It doesn’t hurt that I’m already an Anglophile, but the consistent excellence is what maintains the feeling that, when I hear about a new show from this company, I automatically expect it to be good. The Beauty Queen of Leenane is another success for this company, and even though the tone and occasional “gross-out” aspects of McDonagh’s works make me not the biggest fan of his plays, that is more of a personal taste issue and I can see his obvious talent. It’s productions like this one that make his shows especially worth watching.

Austin Cochran
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting The Beauty Queen of Leenane at the Kranzberg Arts Center until March 30, 2025

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Albion Explores Relationships, Mental Health in Well-Cast “Woman In Mind”

Posted in St Louis Theatre, tagged , , , , , , on June 14, 2024| Leave a Comment »

Woman In Mind (December Bee)
by Alan Ayckbourn
Directed by Robert Ashton
Albion Theatre
June 7, 2024

Emily Baker, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

Many people probably know what it’s like to daydream of a different life, especially when your “real life” doesn’t turn out as you may have hoped. Albion Theatre’s latest production, Alan Ayckbourn’s Woman In Mind (December Bee) explores what happens to one woman when the daydreams start to take over, confusing the distinction between fantasy and reality. It’s an increasingly dark comedic look at issues including relationship problems, unrealized hopes and dreams, parental expectations, and the complex issue of mental health. On stage at the Kranzberg Arts Center as directed by Robert Ashton, this is a challenging, thought-provoking play that makes the most of its small performance area and excellent cast.

When the play opens, Susan (Emily Baker) is lying on the ground in her garden, slowly returning to consciousness after having stepped on a rake and hit on the head with its handle. It’s a small English town, near London, in the 1980’s, and Bill (Danny Brown), her doctor, is there but what he’s saying doesn’t make a lot of sense to Susan, even though the words sound almost intelligible. When she finally comes to and Bill is looking to call for an ambulance, Susan is soon joined by her loving husband Andy (Isaiah Di Lorenzo), fun-loving brother Tony (Joseph Garner), and devoted daughter Lucy (Sarah Vallo), who all express concern for Susan and wish to cheer her up, offering a look at a happy, wealthy family life. Soon, however, Bill returns and gets confused by Susan’s descriptions of her family, because he knows that her husband is a vicar named Gerald (Matt Hanify), and they live with Gerald’s widowed sister Muriel (Susan Wylie). Also, Susan doesn’t have a daughter, but a son named Rick (Ryan Lawson-Maeske), who has spent the last few years of his life estranged from his parents and living in a cult-like communal group.  The garden itself is also a lot smaller than Susan had initially led us to believe. As the story plays out, the realities–Susan’s imagined “ideal” family and her real, complicated one–start to become more blurred together and confused, revealing the issues in Susan’s family relationships and eventually spiraling out of control in the most ridiculous ways. 

The blend of comic situations and serious implications is well fleshed-out in Ackbourn’s well-constructed, witty and characterful script. The cast is excellent, led by Baker in a tragicomic tour-de-force as the gradually unraveling Susan. The rest of the cast is also strong, with Hanify as the more staid Gerald and Di Lorenzo as the effusive, upper class Andy both making strong impressions as the wildly contrasting husbands. There are also impressive turns from Garner as the enthusiastic Tony; Wylie as Muriel, who is notable for her air of sadness and her insistent inability to cook; and Lawson-Maeske and Vallo as the very different offspring; the disenchanted Rick and the ever-devoted Lucy. Brown is also memorable in an increasingly influential role as Bill. The chemistry is especially strong and cohesive, with all the cast members playing off of one another well, especially when the real and imaginary start to become more and more mixed up, and elements of the real relatives start to show up in the fantasy family.

There’s a simple but well-realized set by Erik Kuhn that fills the performance space well and appropriately evokes a small English garden. Tracey Newcomb’s costumes are appropriately of the era and suit the characters well, with a whimsical flair as things start to get weirder in the story. There’s also excellent lighting by Michelle Zielinski and sound by Jacob Baxley.

With quirky, well-cast characters, a clever script, and thoughtful staging, this show is sure to provoke a lot of thought and conversation. Albion has established itself as one of the better small theatre companies in St. Louis, and Woman In Mind (December Bee) is another memorable example of its excellence. I’m looking forward to their next play later this year.

Emily Baker, Matt Hanify, Ryan Lawson-Maeske
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Woman In Mind (December Bee) at the Kranzberg Arts Center until June 23, 2024

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Albion’s “Molly Sweeney” is a Fascinating, Well-Cast Character Study

Posted in St Louis Theatre, tagged , , , , , on March 23, 2024| Leave a Comment »

Molly Sweeney
by Brian Friel
Directed by Robert Ashton
March 16, 2024

Paul Gutting, Maggie Wininger, CJ Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre’s latest production highlights the work of one of Ireland’s most celebrated modern playwrights. Brian Friel, known for Dancing at Lughnasa among other works, has experimented a bit with format for the sake of concentrating on character in the intriguing Molly Sweeney, which features three characters describing the same series of events, but without ever directly interacting. At Albion, in a riveting, deliberately paced production directed by Robert Ashton, these characters and the highly thought-provoking subject matter are brought to life with compelling depth and energy.

The play’s title character, Molly (Maggie Wininger) is an independent, optimistic woman in her early 40s who has been blind for most of her life, having lost her sight as a very young child; until she meets and marries Frank (CJ Langdon), an amiable and charming man who has spent his life pursuing one adventurous “cause” after another. The research-minded Frank becomes determined that Molly would be able to regain at least some of her sight through surgery. The surgeon they consult, Mr. Rice (Paul Gutting) is a once-celebrated professional who has experienced several personal setbacks. Upon being presented with Molly’s case, Rice sees an opportunity not only to help her, but also to possibly reinvigorate his career. All three characters tell the story after the fact, each from their own individual perspective. This structure allows the audience to examine the characters and the situation with a slightly heightened focus, adding some weight to the philosophical ideas and practical implications as we see them talk about the events both as ideas and as reality. Also, the fact that we never see the characters interact lends to the exercise of imagining how they would do so, allowing especially for examination of Molly’s and Frank’s marriage from a more detached perspective. 

While there is very little in the sense of “action” in this play, the performances of the talented cast members provide much in the way of drama, so that even though the play is talky, it’s never boring. The story is able to personalize weighty issues concerning the nature of perception–visual vs. tactile, and the effects of integrating these means of gaining information–through these vividly drawn characters. The actors here are more than up to that task, with Wininger’s Molly going through a credible transformation as she portrays her experiences and recollections of growing up, as well as the unexpectedly devastating effects of the operation. Langdon is  personable and energetic as Frank, and at once it’s easy to see why Molly would be attracted to him, while also seeing why they might not be such a good fit as a couple. Gutting, as Rice, is also excellent, with a somewhat “matter-of-fact” telling of his story while also keeping a compelling air of mystery.

The energy and flow of this play is driven by these three powerful performances, and the staging is paced well, with the setting and technical elements providing a suitable backdrop for the storytelling. The set by Eric Kuhn is simple and effective, aided by strong lighting by Eric Wennlund and sound by Ashton. Tracey Newcomb’s costumes fit the characters well, adding detail to their characterizations.

Molly Sweeney is a fascinating play, in structure, story, characters and philosophical concepts. It’s one of those plays than can leave viewers asking “what would I do?” It’s well worth a look, and a whole lot of thought. 

Maggie Wininger, Paul Gutting, CJ Langdon
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Molly Sweeney at the Kranzberg Performing Arts Center until March 31, 2024

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Albion’s Well-Cast “Mindgame” is a Twisty Psychological Thriller

Posted in St Louis Theatre, tagged , , , , , on October 24, 2023| Leave a Comment »

Mindgame
by Anthony Horowitz
Directed by Robert Ashton
Albion Theatre
October 20, 2023

Nick Freed, Chuck Winning
Photo by John Lamb
Albion Theatre

The latest production from  Albion Theatre, Mindgame has an appropriate title. Anthony Horowitz’s intense psychodrama–directed by Robert Ashton–is twisty, intense, and visceral, presenting quite a challenge for actors and directors. Albion meets that challenge in a strong, highly provocative production that’s sure to keep audiences thinking.

The story begins in the office at a hospital for the criminally insane. Styler is there making notes on his tape recorder. He’s hoping to meet with the director of the asylum, Dr. Farquhar–pronounced like “Far-ar” here, as the doctor insists when he arrives. Farquhar is mysterious and suspicious, seemingly not remembering a letter Styler sent requesting the meeting, and eventually being evasive and challenging when Styler reveals his desire to meet with one of the hospital’s infamous patients, a known serial killer. Soon, one of the hospital’s employees, Nurse Paisley, is brought into the story, seeming to be a reluctant participant in whatever Farquhar has planned. There isn’t much else I can say about this story without spoiling, but it involves a series of revelations, machinations, and psychological manipulations that threaten to–and sometimes do–veer into violence.

It’s a clever script, with well-drawn characters who have secrets of their own, and reveal themselves to be more than what they may seem at first, while offering a thought-provoking examination of various concepts including the treatment of mentally ill criminals, the public’s fascination with true crime–and particularly serial killers–and more. This frequently twisting plot and characters present a challenge for actors and directors. Director Ashton has paced the action well, and the excellent cast brings out all the rancor, occasional wry humor, and elevating sense of sheer terror that the script provides. Nick Freed as Styler is an effective protagonist, revealing a range of emotions, and motives over the course of the story, working well with Chuck Winning, who is also superb as the cunning, manipulating, and increasingly hostile Farquhar. Nicole Angeli rounds out the cast in a convincing turn as the mysterious Paisley, offering a convincing portrayal as the characters, and the story, continue to shift and evolve.

The look and atmosphere of this production are also well-done, with an effective, detailed set by technical director Erik Kuhn, who also serves as fight choreographer. There’s also excellent work from costume designer Tracey Newcomb, lighting designer Eric Wennlund, and sound designer Jacob Baxley. The technical aspects work together to help set and maintain the overall tense, confrontational drama that ensues.

Mindgame is certainly a disturbing story, no question. There’s some difficult subject matter here, and it’s not for all audiences, so anyone squeamish about depictions and descriptions of violence, torture, and murder probably will not want to see this show. Still, what is presented here is an exquisitely crafted thriller that is ideally cast and energetically staged. It’s a memorable, provocative production from Albion Theatre.

Chuck Winning, Nicole Angeli, Nick Freed
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Mindgame at the Kranzberg Arts Center until November 5, 2023

This review was originally published at kdhx.org

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Albion’s “Absent Friends” Features Incisive Comedy, Strong Cast

Posted in St Louis Theatre, tagged , , , , , on June 13, 2023| Leave a Comment »

Absent Friends
by Alan Ayckbourn
Directed by Robert Ashton
Albion Theatre 
June 9, 2023

Mike DePope, Jason Myers, Ben Ritchie, Nicole Angeli, Anna Langdon, Annalise Webb
Photo by John Lamb
Albion Theatre

Albion Theatre is continuing their latest season with a work by one the UK’s most prolific playwrights. Alan Ayckbourn’s Absent Friends is a comedy with dark undertones, examining the relationships among a group of friends in 1970s England. As directed by Albion’s artistic director Robert Ashton, it’s a precisely paced showcase for an impressive cast of local performers. 

The play follows the story of a group of old friends who are involved in several awkward situations, including suspicions of infidelity, as well as social aspirations, personal grief, and strains on longtime friendships, all handled with at least an attempt at the veneer of British politeness as Diana, played by Nicole Angeli, prepares for a tea party welcoming back visiting and grieving friend Colin, played by Ben Ritchie. Diana is married to Paul, a somewhat haughty successful businessman played by Jason Meyers, but she’s having doubts about his fidelity in the marriage, suspecting him of an affair with Annalise Webb’s somewhat frosty Evelyn, who is married to their friend John, played by Mike DePope. Diana’s friend Marge, who is played by Anna Langdon, tries to encourage Diana and question Evelyn, but soon the frequently restless John arrives and the awkward waiting begins. When Colin finally arrives, he’s eager to talk about his late fiancée Carol, whom none of the group had a chance to meet.  What ensues is an astute examination of the state of the various relationships, including marriages, friendships, and business connections, as well as a look at ambition, mortality, and social obligations in British society. It’s all so deliberately plotted and paced, with excellent use of long pauses in dialogue, unspoken reactions, and the occasional well-placed vocal outburst. 

The cast is well-chosen, led by Angeli in an expertly measured performance as the suspicious, gradually unraveling Diana. Ritchie is also memorable as the grieving but affably intrusive Colin. Meyers, as the upwardly mobile, emotionally clueless Paul, is also strong, as is Langdon as the somewhat Pollyanna-ish Marge. DePope, as the always-moving, insecure John, and Webb as the snarky Evelyn are also excellent. Ensemble chemistry is essential in a story like this, as the various interactions and personality differences are the source of much of the comedy, as well as the tension. It’s all paced with precision by director Ashton, and the players work together well.

The costumes, by Tracey Newcomb, are notable highlight on the technical side, with much attention paid to the details of 1970s fashion, and the characters are outfitted ideally according to their personalities. Erik Kuhn’s set is also impressive in its period style and décor. The lighting by Michelle Zielinski, props by Gwynneth Rausch, and sound by Jacob Baxley also contribute well to the overall atmosphere of the story.

Absent Friends is classified as a comedy, and there’s a lot of humor here, but there’s  a fair amount of drama simmering below the surface, as well, and occasionally emerging in an explosive manner. This is a well-crafted show set in a specific time and place, although it features several timeless themes. It’s another intriguing production from this still relatively new theatre company.

Nicole Angeli, Ben Ritchie, Annalise Webb
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Absent Friends at the Kranzberg Arts Center until June 25, 2023

This review was originally published at KDHX.org

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Albion Theatre Debuts with Well-Cast, Deliberately Paced “Heroes”

Posted in St Louis Theatre, tagged , , , , , , on September 26, 2022| Leave a Comment »

Heroes
by Gérald Sibleyras, translated by Tom Stoppard
Directed by Robert Ashton
Albion Theatre
September 25, 2022

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

There’s a new theatre company in town, and its first play is an intriguing one. Albion Theatre is focused on works from the British Isles, and occasionally Ireland. Their inaugural production, Heroes, is actually French in origin, but this English translation by one of the UK’s most celebrated playwrights, Tom Stoppard, debuted in a critically-acclaimed run in London’s West End.  As Albion’s first entry in its repertoire, it makes a quiet but strong impression, featuring excellent performances and thoughtful but somewhat slower pacing.

Heroes is classed as a comedy, but it’s not a laugh-a-minute type of show. It’s a more gentle, thoughtful piece, focused more on developing the characters than just getting laughs. It’s also deliberately paced to the point that it forces the audience to pay attention, and can drag in places if not well-paced. For the most part, this production is paced just right. The story follows a trio of French World War I veterans who are living in a retirement home for vets in 1959. They have each been there for a different length of time–Henri (David Wassilak), who lost part of his leg in the war and walks with a can, has been there 25 years; Phillipe, who suffers from period fainting spells due to shrapnel lodged in his head, has been there 10 years; and the semi-reclusive Gustave (Will Shaw), has been there six months, although he seems to see himself as something of the ringleader of the group. The three spend their days on a terrace of the home, passing the time sharing their opinions of the various residents of the home and the nuns who work there, reminiscing and bragging about past romantic exploits, as well as family difficulties, and imagining elaborate trips abroad, even going so far as to plan an escape to see a grove of poplar trees in which Gustave is fascinated. They also share an odd connection to a stone dog sculpture that sits on the terrace, often acting as if it is a real animal. There isn’t much in the way of plot–it’s more of a character study and a meditation on aging. loneliness, and the need for companionship, as well as the changes in society over time and attitudes toward the aging and veterans in particular. It’s clearly a comedy, with a humor that is sometimes subtle, sometimes mildly risqué, and sometimes with hints of darkness, as these three men know their time is limited and are struggling to maintain meaning in their lives. 

The characters are well-drawn and the dialogue is well-constructed. The slower tone of this play requires engaging actors to keep the pace, and this production has found excellent performers. All three work together well, and the interplay between the characters is what makes the story here, with all three inhabiting their characters fully and portraying their quirks, annoyances, and endearing qualities with clarity and intelligence. Shaw as the somewhat bossy but insecure Gustave has memorable presence, and Wassilak as the more practical-minded Henri is also excellent, as is Di Lorenzo as the physically fragile but emotionally energetic Phillipe. All three lend a compelling air to the proceedings, as do their interactions with the one silent cast member, the stone dog statue, credited in the program as “Gérald Le Chien”. 

The dog also contributes to the interest of the play in a different way, as he is frequently being moved around between scenes by assistant director/stage manager Gwynneth Rausch with a hand truck–I wonder how much he weighs. Trying to guess where the dog will end up next contributes to the comic tone of the show. The other technical qualities are also strong, including Brad Slavik’s simple but realistic unit set, Marjorie Williamson’s expert set painting, Nathan Schroeder’s excellent lighting, Tracey Newcombe’s character-appropriate costumes, and Robin Weatherall’s proficient sound design. The overall atmosphere of time and place is well-maintained, working well with the mood and style of the play. 

Overall, while I think Heroes is something of a subdued choice for a debut production from a new theatre company, Albion Theatre has made a strong impression, especially considering the strength of the cast. It’s a thought-provoking show with some truly funny moments, as well as moments of poignancy. I’m looking forward to seeing more productions from this promising new company.

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Heroes at the Kranzberg Black Box Theatre until October 9, 2022

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WEPG’s “Lonesome West” Explores Relationships With Dark Comedy and Some Serious Moments

Posted in St Louis Theatre, tagged , , , , , on May 7, 2022| Leave a Comment »

The Lonesome West
by Martin McDonagh
Directed by Robert Ashton
West End Players Guild
April 28, 2022

Jason Meyers, Jeff Kargus
Photo by John Lamb
West End Players Guild

West End Players Guild’s latest production is from celebrated Irish-English playwright Martin McDonagh, whose specialty is dark comedy with a penchant for the gruesome. The Lonesome West, however, even though it’s still essentially a dark comedy, is something of a departure in that it explores its relationships with not just a sharp edge, but also with a bit of a softer side and not a few moments of true poignancy. As staged at WEPG, it’s also an expertly paced showcase for four excellent local performers.

Set in Leenane, Galway, Ireland, the play follows two brothers, Valene (Jeff Kargus), and Coleman (Jason Meyers), who are constantly squabbling over multiple issues, big and small. We first meet them after the funeral of their father, who was shot by Coleman apparently by accident. Valene is extremely possessive, putting his initial on everything that belongs to him, from his new stove to bottles of booze to snack foods, and is reluctant to share with his brother. He also irritates Coleman by obsessing over his collection of figurines of various Catholic saints. Coleman, for his part, irritates his brother by constantly flouting his rules, and both brothers are a source of frustration for the local village priest, Father Welsh (Ted Drury), whose name they can’t even always get right, and who is frequently questioning his faith because of his perceived inability to have any effect whatsoever on the moral development of the townspeople. There’s also Girleen (Hannah Geisz), a neighborhood schoolgirl who hawks her father’s homemade booze and seems to look up to Father Welsh, despite the priest’s continued self-doubt. It’s these two characters who most often produce the occasional poignant moments that appear from time to time in the play, while the brothers are a chaotic force that drives the dark comedy ever darker. Even when there’s a new tragedy that makes the brothers take stock in their own lives and their relationship, they still can’t seem to help their constant needling of one another. 

Like McDonagh’s other plays that I have seen, the sense of setting is strong here, with a believably Irish tone and atmosphere that’s well maintained in this production by the excellent work of the actors and designers. The small, seemingly ancient farmhouse is well-realized in Brad Slavik’s remarkably detailed set, and the characters are appropriately outfitted by costumer Tracey Newcomb. There’s also strong work on props from Frank Goudsmit, as well as excellent atmospheric lighting by Tony Anselmo and skilled sound design by Jenn Ciavarella.

The actors are especially impressive here, with Meyers and Kargus play against one another particularly well as the belligerent brothers, Coleman and Valene. Their strong personalities are well-realized, as is their sharp sense of comic timing and physicality. There’s also superb work from Drury as the self-doubting Father Welsh, who provides much of the emotional heart of the play, and Geisz as the feisty Girleen is also strong, especially in her scenes with Drury. The pacing is strong, as well, and the whole cast brings a sense of energy to the production that adds much to its entertainment value, as well as it’s occasionally thought-provoking themes.

McDonagh’s plays are often crass, sometimes gory, and definitely not for all ages, but this one has a degree of emotional resonance that I haven’t seen in some of his other dark comedies. Dark, physical, and frequently irreverent comedy is still at the forefront here, but there’s a level of depth that makes this play especially intriguing. As performed by a first rate cast at WEPG, The Lonesome West is certainly worth checking out.

Ted Drury, Hannah Geisz
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting The Lonesome West at Union Avenue Christian Church until May 8, 2022

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An Off-Kilter but Entertaining “Off the Map” from WEPG

Posted in St Louis Theatre, tagged , , , , , on October 2, 2014| Leave a Comment »

Off the Map
By Joan Ackermann
Directed by Robert Ashton
West End Players Guild
September 27th, 2014

Bob NIckles, Julia Monsey Photo by John Lamb West End Players Guild

Bob NIckles, Julia Monsey
Photo by John Lamb
West End Players Guild

West End Players Guild is starting off its new season with an offbeat dramedy about an unconventional family.  Off the Map is a strange play in that it’s not particularly easy to follow, although WEPG’s production is particularly notable for its excellent cast and strong production values. It’s an entertaining production of what strikes me as a difficult play to produce.

The story is told in a flashback format, in which the adult Bo (Kate Weber) narrates the story of a particularly eventful time in her life, as well as the lives of  her unconventional family. The time period isn’t clearly stated, although based on the set and the music that plays before the play starts, it appears to be the early 1970’s. Young Bo (Julia Monsey) is an imaginative, ambitious girl whose main aim in life is to see the world beyond her family’s desert homestead in New Mexico.  Bo’s family is determinedly out of line with most of society–they live “off the map” and and rely on bartering, hunting, gardening and scavenging at the local dump to maintain their existence.  Bo’s father, Charley (John Foughty), is a Korean War veteran and handyman who is battling with a crippling depression. Her mother, Arlene (Paula Stoff Dean) is an enterprising free-spirit who hunts bears and gardens in the nude.  Charley’s friend George (Matt Hanify) is a gentle soul who is frustrated by his best friend’s depression, and IRS auditor William Gibbs (Bob Nickles) is the bewildered outsider who is at once puzzled and fascinated by this family.  It’s a somewhat disjointed story of how this family learns to deal with their various issues and learn from one another, as well as influencing the life of outsider William, and giving Bo a new perspective on her own life goals.

The structure of this show is somewhat clunky and uneven.  It’s not just episodic–some of the episodes don’t seem to make much sense. The adult Bo wanders in and out of the action, sometimes as a commentator, and sometimes merely observing, and the pacing is very leisurely at times. I found myself imagining how this story might work as a movie, only to discover later that the story was adapted into a film. in 2003. I haven’t seen the movie so I don’t know what it was like, but I can’t help but think cinema is a better format for this story, because on stage it often comes across as disjointed and confusing, with far too many scene changes and odd blackouts.  Although the older Bo is offering commentary on the events, her presence doesn’t add a lot to the story, except at the very end when she offers some revelations about what happened to the characters after the play’s events, and some of those revelations seem unearned.  Still, it’s an intriguing character study with very interesting roles and situations, and the excellent cast makes it entertaining.

As the younger Bo, Julia Monsey makes the most of a difficult character.  Bo’s actions and attitudes can be selfish and annoying at times. but Monsey makes her interesting and likeable despite occasional enunciation issues.  Her interactions with her parents and particuarly with George and William are particularly effective. Weber is convincing as the older Bo, making her believable as an older version of Monsey’s character. Hanify as George is sympathetic and charming in an offbeat way, and Nickles delivers an unpolished but eventually engaging performance as William, excelling especially in a particularly poignant scene with Charley in which he deals with some confusing childhood memories and emotions. The most memorable performances, however, are those of Dean and Foughty, who command the stage whenever they are on and display excellent chemistry in their scenes together.  Dean manages to bring much warmth and humanity to her character’s eccentricity, and Foughty is especially affecting as a man who has become at odds with his family and with himself, as he struggles to both understand and overcome his depression. The performances of this excellent cast manage to overcome the somewhat inscrutable script and bring humor, drama and sympathy to the performance.

This production also benefits from an excellently realized set, designed by Mark Wilson, and John “JT” Taylor’s striking lighting design.  The look and atmosphere of the desert locale are also enhanced by Tracey Newcomb’s costumes and Jackie Aumer’s props.  This production makes the most of WEPG’s somewhat difficult performance space, utilizing the stage in the most effective way I’ve seen.

Director Robert Ashton and the impressive cast have succeeded in making a difficult show effectively engaging.  WEPG has taken a risk in producing this difficult script to begin the season.  The resulting production makes the risk worthwhile, and it’s worth seeing for the overall atmosphere as well as the strong performances.  It’s an intriguing start to a new season for West End Player’s Guild.

 

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