Posts Tagged ‘robert ashton’

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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