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Posts Tagged ‘sate ensemble theatre’

Doctor Faustus, or The Modern Prometheus
by John Wolbers… and Kit Marlowe
Directed by Ellie Schwetye
SATE Ensemble Theatre
November 8, 2018

Joe Hanrahan, Ashley Bauman, Talessha Caturah, Nicole Angeli
Photo by Joey Rumpell
SATE Ensemble Theatre

There’s a whole lot of “Faust” happening in St. Louis this year. The collaborative FAUSTival is continuing this month, and now it’s SATE’s turn to offer their own approach to this legendary tale. This is the fourth entry in the series, and if you thought you might start feeling a little bit of “Faust” fatigue by this point, there’s no need to worry, as SATE’s take on the oft-told tale is bold, fresh, challenging, and thoroughly compelling.

With this production, playwright John Wolbers takes Christopher (Kit) Marlowe’s version of the story and significantly tweaks it to give it a modern spin. The title character is now a woman (Ashley Baumann), and although the play is still in verse and uses Early Modern English and Elizabethan-inspired costumes for the most part, the setting is modern, with present-day cultural references included, and modern issues–or actually, age-old issues in the context of how they have manifested in modern times. The story emphasizes the temptation of Faustus and her relationships with those close to her, especially her college boyfriend Wagner (Michael Pierce) and roommate Val (Lex Ronan), as well as her business role model and mentor Carol Hapsburg (Taleesha Caturah). There’s also the various incarnations of Mephistophilis, the demon who is supposed to serve her after she makes a pact with the devil. Mephistophilis is played in turn by almost all of the remaining cast members in the show, with the exception of Nicole Angeli, who plays “The Seven”, a personification of the Seven Deadly Sins, which play a major role in Faustus’s journey of temptation and ascent to power. The play incisively deals with important issues such as the struggles for equality of women in academia and business, as well as sexual harassment, the corruption of power, and more.

Although it takes a few minutes to really get going, it soon becomes a riveting drama, with impressive performances all around. Bauman’s Faustus goes on a credible emotional journey, and her initial idealism and growing sense of ambition are well portrayed. There’s strong chemistry between her and Pierce as the devoted but eventually disillusioned Wagner and also with Ronan as her close friend, the also idealistic and magically curious Val. Ronan is also strong in her role as legendary mythological Helen of Troy and one of the incarnations of Mephistophilis. There’s also a strong performances from Caturah in three roles, including the original version of the crafty Mephistophilis, as well as the authoritavie Hapsburg and, in a memorable scene, as an elderly lady who makes an impression on Faustus. Joe Hanrahan, as a smarmy college professor and the second Mephistophilus, and Erik Kuhn and Kareem Deanes in multiple roles are also excellent. Special mention needs to go to Angeli, who deftly shifts back and forth between seven distinct personalities as The Seven. It’s a dynamic, impressive, chilling, and thoroughly memorable performance that stands out in an already excellent ensemble.

The technical aspects of this show don’t fail to impress, either. Bess Moynihan’s set is distinctive, as a series of seven columns–decorated to represent the Deadly Sins–serve as an effective backdrop for the action. The lighting design by Dominick Ehling coordinates well with the set and with the acting in a clever way that I won’t spoil here, but will make itself apparent as the story plays out. There’s also excellent use of sound, designed by Kareem Deanes, and vividly realized modern-Elizabethan fusion-style costumes by Liz Henning.

This is a Doctor Faustus for the ages, both ancient and modern, employing some modern sensibilities to communicate timeless truths about the human condition, ambition, and temptation as well as the importance of empathy and compassion. It’s another excellent FAUSTival presentation, serving also in various ways to point out the common themes the various productions have had, beyond the fact that they’re all about Faust in their own unique ways. In this production, SATE continues to challenge, impress, and provoke much thought. It’s another strong production from this excellent company.

Cast of Doctor Faustus
Photo by Anne Genovese
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting Doctor Faustus, or The Modern Prometheus at The Chapel until November 17, 2018

 

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No Exit
by Jean Paul Sartre
Translated by Alyssa Ward
Directed by Bess Moynihan
SATE Ensemble Theatre
August 16 , 2018

Sarah Morris, Rachel Tibbetts, Shane Signorino Photo by Joey Rumpell SATE Ensemble Theatre

No Exit is one of those Important Plays that you study in English or drama class, but have you ever actually seen it? In speaking with SATE co-producer Ellie Schwetye before the show, we both commented on how many people we know (including myself at that point) had read or read about the play but hadn’t actually seen it. Well, if that’s you too, now you can see it! And not only is it being produced in St. Louis now, it’s by one of the boldest, most consistently excellent small theatre companies in town. Utilizing the rather intimate performance venue of the Chapel, SATE’s production is impeccably staged, ideally cast, and fascinating from start to finish.

The set-up and approach here are immersive, with audiences being greeted as they arrive by the blank-faced, deadpan delivery of Katy Keating’s Valet, who announces “Welcome to Hell”. The audience waits, seated around the perimeter of the Chapel on the edges of a precisely decorated room with limited furniture. As the play begins, the Valet eventually ushers in three newly deceased characters from different areas and different walks of life. The evasive Garcin (Shane Signorino) was a political activist, the confrontational Inès (Sarah Morris) was a postal worker, and the vain Estelle (Rachel Tibbetts) was a wealthy Parisian wife who insists she doesn’t belong in Hell. Over the course of the evening, the three manage to get under one another’s skin. Everyone’s in denial in one way or another, but soon the realities and brutalities of their lives are revealed as their interactions become the focus of the drama. The tension builds and the play’s conclusion produces its most famous line, which I won’t repeat here but once you hear it, you’ll probably know it. This is a classic representation of Sartre’s existentialist philosophy with sharply drawn characters and dynamic, thought-provoking diaologue veers from the dramatic to the darkly witty. It’s the kind of play people write papers about, and I’m sure there have been thousands over the years. Still, it’s a play, and it comes alive with a dynamic staging, which this production certainly is, directed by Bess Moynihan with a lucid energy that maximizes the drama.

There’s a great cast here, as well, from the unsettlingly serious Keating, a strong presence in the relatively small part of the Valet, to the contrasting characters of the three leads. Morris is all combative energy as the brutally honest, challenging Inès, with Signorino equally strong as the preoccupied, self-deluded Garcin. They are matched by Tibbetts in an impressive turn as the almost confronationally shallow, vain Estelle, who seeks her value in her desirability to men. The chemistry among all three is intense, driving the play so there is never a slow moment.

Also impressive is the complete look and atmosphere of this production. The 1940s style and character-specific suitability of the costumes by Marcy Ann Wiegert and the meticulous set design by director Moynihan make an ideal setting. There’s also impressive lighting, designed by Michael Sullivan, setting the creepy, ominous tone from the beginning. Ellie Schwetye’s sound design also adds to this tone.

This is such a precisely staged, superbly acted production, with the strength of the script shining through. Kudos also to translator Alyssa Ward, as the wit, drama, and intensity shine through the dialogue. It’s the first production of No Exit I’ve seen, but I find it difficult to imagine how this play could be done any better. It’s a milestone of 20th century drama, but here it’s made fresh and very much in the moment. Again, the excellence with which SATE has come to be known shines through. This is a show that needs to be seen.

Katy Keating, Shane Signorino Photo by Joey Rumpell SATE Ensemble Theatre

SATE Ensemble Theatre is presenting No Exit at the Chapel until September 1, 2018

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Run-On Sentence
by Stacie Lents
Commissioned by Prison Performing Arts
Directed by Rachel Tibbetts
SATE Ensemble Theatre
June 9, 2018

Wendy Renée Greenwood, Margeau Baue Steinau, Jamie McKittrick, Bess Moynihan, Taleesha Caturah
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE continues to be one of St. Louis’s boldest, most remarkable theatre companies, continuing to present challenging, thought-provoking, impeccably-staged theatre primarily in the small, versatile Chapel arts venue. I’ve made it no secret what I think of SATE. I’ve yet to be disappointed by one of their productions, and they continue their streak of excellence with an intense, confrontational work originally written for the Prison Performing Arts organization. It’s called Run-On Sentence, and it’s a truly remarkable production.

This is a small-cast, one act play, set in a women’s prison and orginally performed in one. Under the direction of SATE co-producer Rachel Tibbetts, the Chapel has been transformed into a starkly furnished cell, with four bunk beds and a small bank of lockers. The story is structured as something of a flashback/testimonial, told by Mel (Taleesha Caturah), who has been incarcerated for over 15 years on a life sentence. She describes what it’s like to be in prison, which as you would expect, is rough. We meet her fellow inmates, the moody, suspicious, aspiring baker Bug (Wendy Renée Greenwood), the trusting, potato-chip loving Giant (Jamie McKittrick), who appears to be mentially challenged, and the more even-tempered Miss Alice (Margeau Baue Steinau), who has been there a long time and who leads aerobics classes for the inmates. There’s a complexity of relationships, and difficulty building trust among inmates, which is demonstrated with the arrival of a newcomer, Mary (Bess Moynihan), a first-timer with a PHd and a complicated story that doesn’t get revealed right away. Intially, Mel is annoyed by Mary, but their relationship soon develops to a point that makes Bug (Mel’s best friend) jealous and even more suspicious of Mary. There’s also a new prison guard, Officer Wallace (Kristen Strom), who tries to be fair-minded and is taunted by the inmates for being naive. Through a series of scenes we get to see the dynamics among the inmates, hear some of their stories, and see the routines and hierarchies to which they have become accustomed. The story is told in what is essentially a series of vignettes, but the major threads are about Mel and Mary, how their relationship develops, and how that relationship is affected by various revelations that happen during the course of the story. The harsh realities of prison life are emphasized, and so is the underlying uneasiness with the idea of hope–everyone wants to get out, but nobody knows for sure if and when they ever will.

This is a challenging play, with relationship dynamics at its center, along with SATE’s usual clever use of their performance space and dynamic, well-paced staging. The cast is in top form, with all players turning in powerful, memorable performances, led by Caturah as the guarded, tough-talking Mel, whose vulnerability becomes more apparent as the story progresses. The entire cast’s chemistry is strong, with the characters’ relationships immediate and credible. Everyone is excellent, with Greenwood’s unpredictable Bug and McKittrick’s somewhat childlike Giant as particular standouts. Stil, there’s not a weak link in this six-member cast, with all the players having their memorable moments, and the sense of bonding and also tension among the inmates readily apparent. The script is well-structured, revealing important information gradually, as the reason for this format is eventually made clear.

The sheer despair and monotony of prison life is on display here, as are the very real fears, grievances, and hopes of the characters. The emotions can be raw, and the drama can be tense, but there are also moments of humor, and it’s all pitched just right in this production. The simple, spare set designed by Moynihan, and the realistic costumes by Rachel Tibbetts just add a sense of authenticity to the realism of the script. There’s also effective use of lighting by Dominick Ehling and sound by Ellie Schwetye, helping to transform the performance space of the Chapel into the stark setting of a prison.

This isn’t an easy play to watch at times. It’s confrontational; it’s personal; it’s raw. It shines light on the realties of life in prison for audiences who might not know much about what that’s like. It’s also an intriguing character study and showcase for SATE’s always excellent cast of first-rate actors. Run-On Sentence is another strong example of the excellence that is SATE.

Kirsten Strom, Jamie McKittrick, Margeau Baue Steinau, Wendy Renée Greenwood, Taleesha Caturah
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting Run-On Sentence at the Chapel until June 17, 2018

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Of Mice and Men
by John Steinbeck
Directed by Jacqueline Thompson
SATE Ensemble Theatre
November 9, 2017

Carl Overly, Jr., Adam Flores
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE is back again, producing their remarkably ambitious, dynamic brand of theatre and this time succeeding in transforming a theatrical classic into something that’s at once faithful to the source material and dynamically immediate for today’s audiences. Of Mice and Men, as presented at the Chapel, features a remarkable cast and truly innovative direction, making for a must-see theatrical production.

As far as I can tell, not a word of the actual script has been changed. What has changed, instead, is the subtext, and deliberate casting and directorial choices that make this old story into something new. It’s still the story of migrant farm workers in 1935 California, centering on the small-statured, world-weary George (Adam Flores) and his friend, the larger, much stronger but developmentally challenged and somewhat childlike Lennie (Carl Overly, Jr.). The story follows them as they have left a recent job and are about to start a new one. George is protective of Lennie, who doesn’t know his own strength and isn’t aware of the consequences of his actions or of the way he is perceived by others. The new job is on a ranch owned by The Boss (Jack Corey), whose son, Curley (Michael Cassidy Flynn), is highly insecure and suspicious, with a grudge against anyone bigger than him and mistrustful of his new wife (Courtney Bailey Parker). The work crew consists of a disparate group including Candy (Natasha Toro), who is drawn to Lennie and George and wants to help them achieve their dream of getting a place of their own, joining them in living “on the fat of the land”. There’s also the somewhat impulsive Carlson (Shane Signorino), the gossipy Whit (Ryan Lawson-Maeske), the more easygoing Slim (Joe Hanrahan), and stablehand Crooks (Omega Jones), who doesn’t get to share the bunkhouse and is treated with more suspicion than the other workers because he is black. The story plays out as written, as trouble continues to find Lennie and George, and tragedy follows. What’s different about this production, though, is the relationship dynamics brought about by the insightful direction and deliberately non-traditional casting, which works to emphasize the element of secrecy that’s already inherent in the plot.

The casting really does change things up, forcing the viewer to see this well-known story through a new lens. It still works for the time and place, as well. Here, the traditionally white roles of Lennie and George are played by Flores, who is Latino, and Overly, who is black but of lighter complexion than Jones, who plays Crooks and whose character is clearly treated as inferior by his co-workers. Here, a key scene between Lennie and Crooks gains new power as Crooks points out the difference in their situations, also making it clear that Lennie is unaware of the reason for this difference, although Crooks is very aware. There’s also the casting of a Latina woman, Toro, playing the traditionally white male role of Candy, although the clear suggestion, made even more obvious by a scene with Curley’s wife, is that this Candy is a woman living as a man, although few people seem to realize that fact. The relationship dynamics bring a lot to the story, making the sense of alienation and looking for a place to belong even more of a prominent theme than it was already in this story.

The casting is first-rate, with strong, memorable portrayals by all of the players. Overly, as Lennie, gives a truly remarkable performance especially, portraying Lennie’s childlike enthusiasm and a sense of longing that underscores all of his actions, and his affection and rapport with Flores as George is apparent. Flores is also strong in a poignant performance as the determined, weary and protective George. There’s also excellent work from Toro as Candy, Jones as Crooks, who also has a poignant musical moment singing “The House of the Rising Sun” at the beginning of Act 2, accompanied by the production’s musical director, Chris Ware, who is a presence throughout the production, sitting just offstage playing his guitar, supplying the music that underscores this production. There are also strong performances from Flynn as the belligerent Curley, and by Parker as his lonely wife. Corey, Signorino, and Lawson-Maeske lend excellent support, as well. It’s a fully inhabited, real, human world on stage at the Chapel, and the excellent chemistry of the cast adds much to the drama and immediacy of this production.

Also adding to the production is the strong sense of time and place conveyed in the technical elements here. Bess Moynihan’s versatile set and evocative lighting suggests an authentic setting as well as the transience of the characters. Liz Henning’s excellent costumes, Rachel Tibbetts’s props, and Ellie Schwetye’s sound design also contribute well to the overall mood of the production, as does Chris Ware’s aforementioned striking music and Lawson-Maeske’s fight choreography.

This is the story you may know, but it’s also not. It’s old and it’s new, and it’s profoundly affecting. Of Mice and Men at SATE is another superb, intelligent and challenging production from this continually impressive theatre company.

of Mice and Men-267

Natasha Toro, Carl Overly, Jr., Adam Flores, Courtney Bailey Parker, Omega Jones Photo by Joey Rumpell SATE Ensemble Theatre

 

SATE Ensemble Theatre is presenting Of Mice and Men at the Chapel until November 18, 2017.

 

 

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The Color of August
by Paloma Pedrero
Translated and Adapted by Will Bonfiglio
Editing and Dramaturgy by Miranda Jagels Félix
Directed by Lucy Cashion
SATE Ensemble Theatre
August 10, 2017

Ellie Schwetye, Rachel Tibbetts
Photo by Joey Rumpell

SATE Ensemble Theatre

I have made it no secret that SATE is one of my favorite theatre companies in St. Louis. One of the things I like most about them is that they aren’t pretentious, but they are always trying new approaches to theatre. Their latest production, The Color of August, is another example of this theatre company’s simple, matter-of-fact boldness. It’s a difficult play in several ways, but it’s always challenging, and provocative. It’s a short play, running at just about an hour but there’s a lot going on in that hour. The play also serves as an excellent showcase for its stars, Rachel Tibbetts and Ellie Schwetye.

The casting is actually one of the novel concepts in this production. There are two characters in this show, which takes place in Madrid sometime in the 1990’s. Maria is a successful artist and Laura is her childhood friend who works as a model. The twist at SATE is that both performers have learned both roles, and as they see them as “two sides of the same coin”, they have decided to let a coin-toss from an audience member decide which person play which role at each performance. On the night I saw the show, the coin-toss result was “heads”, which meant Tibbetts played Maria and Schwetye played Laura, as in the picture I have posted below. That’s how I will be reviewing the show, although I wish I had time to see the show again and see the show the other way.

In the story, it’s been eight years since the once-close Maria and Laura have seen one another. The circumstances of their falling-out, as well as the nature of their relationship, gets revealed as the play progresses. There isn’t much else I can say that doesn’t give away too much, and the gradual revelations are an important part of the experience of this play. The real “story”, though, is in the relationship of these two characters. We’re told right away that Maria has an attachment to Laura from the simple fact that all of Maria’s paintings feature Laura in some way or another. From Maria’s attitude, an audience member might be led to believe that the two are still close. Then Laura shows up and we find out things are a lot more complicated than we may think. Their history, their relationship to one another and to a third off-stage character named John, get spelled out in the way these two interact, as well as the passive-aggressive way they communicate, with words, body language, and even paint. The world is well-established by director Lucy Cashion in the brisk, confrontational staging, and by set and lighting designer Bess Moynihan, costume designer Elizabeth Henning, and painters Maggie Genovese and Anne Genovese. It’s a fascinating production, anchored by the powerful, enigmatic performances of Tibbetts and Schwetye.

Tibbetts plays Maria as alternately haughty, possessive, clingy, and jealous. Schwetye’s Laura is weary, mysterious, and sometimes aloof. The interplay between the two characters is occasionally affectionate and occasionally combative, with strong suggestions that their relationship used to be more than “just friends”, and that at least Maria would like it go back to where it was. Both actresses give energetic performances charged with a mixture of anger, affection, desire, and regret. Their on-stage chemistry is strong, and helps keep the momentum of this fascinating but occasionally confusing play.

Overall, I think The Color of August is an intriguing production. It’s a character study  most of all, exploring the dynamics of a particularly complicated relationship. With two excellent performers at its heart, this is a compelling drama that’s definitely worth seeing, at least once and possibly even twice.

 

Ellie Schwetye, Rachel Tibbetts
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE is presenting The Color of August at The Chapel until August 19, 2017.

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First Impressions
Adapted from Jane Austen’s Pride and Prejudice
Conceived by Rachel Tibbetts and Ellie Schwetye
Directed by Rachel Tibbetts
SATE Ensemble Theatre
May 17, 2017

John Wolbers, Ellie Schwetye
Photo by Joey Rumpell
SATE Ensemble Theatre

 I’m a Jane Austen fan. I’ve read her books, seen various filmed adaptations, and like a lot of Austen fans, Pride and Prejudice is my favorite of her novels. Also like a lot of Austen fans, I have a lot of strong opinions about the story and its adaptations. Austen seems to inspire a lot of strong emotions about her works, and that trait is represented well in SATE Ensemble Theatre’s latest production, First Impressions, which tells the story of Pride and Prejudice in a dynamic way while also telling the stories of many of its readers.

The basic story of Pride and Prejudice is well-known by many, whether they’ve read the book or seen many of the various filmed and staged adaptations. Here, with First Impressions, adapters Rachel Tibbetts and Ellie Schwetye have given the story the SATE treatment, presenting the story in a somewhat straightforward way in one sense, but opening it up in another sense, in terms of framing, staging, and casting. Here, various testimonials of of people’s “first impressions” of the story are interspersed with the story. All the familiar characters are here, as Elizabeth Bennet (Schwetye) meets Mr. Darcy (John Wolbers) and the romantic and family drama and comedy unfolds. Elizabeth and her sisters Jane (Cara Barresi), Mary (Parvuna Sulamain), Kitty (Jazmine K. Wade), and Lydia (Katy Keating) live with their parents, the marriage-obsessed Mrs. Bennet (Nicole Angeli) and the somewhat world-weary Mr. Bennet (Carl Overly, Jr.). When the handsome, eligible Mr. Bingley (Michael Cassidy Flynn) moves into a nearby estate, the story is in motion, following Elizabeth as she learns more about the mysterious Mr. Darcy and about the world around her, populated by characters like the sycophantic Mr. Collins (Andrew Kuhlmann), the dashing but caddish Mr. Wickham (also Flynn), and the imperious Lady Catherine DeBourgh (also Angeli).  The story is narrated by Mary, and as the action unfolds, it’s often interspersed with the “first impression” stories that provide commentary not just on the story itself, but on its place in history, its appeal to people from all ages and cultural backgrounds, and also occasional critique of Austen’s perspective and her era.

It’s a fast-paced, fascinating, riveting presentation, full of motion and emotion, with characterizations that are at once true to the spirit of the book and strikingly modern. The fact that some performers play more than one role also provides interest in the form of contrast, such as Angeli’s portrayal of the meddling Mrs. Bennet, the imposing Lady Catherine DeBourgh, and the personable Aunt Gardiner. Angeli is particularly notable for portraying a Mrs. Bennet who doesn’t come across as a caricature or a cartoon as she can in some filmed adaptations. Yes, she can be silly, but Angeli provides some substance behind the silliness, and there’s a degree of affection between Angeli and Overly’s Mr. Bennet that adds a level of depth to their relationship. Sulamain’s portrayal of Mary is similarly refreshing, making the middle Bennet sister appear more thoughtful than sanctimonious. The other Bennet sisters are also strong in their characterization, from Barresi’s reserved but gentle Jane, to Wade’s excitable Kitty, to Keating’s brash, outspoken Lydia.  Flynn is excellent as both the generous, lovestruck Bingley and the charismatic but unprincipled Wickham. Kristen Strom gives another strong contrasting performance as two distinctly different sisters–the haughty Caroline Bingley, and the more humble, kindly Georgiana Darcy. Rachel Hanks is memorable as a particularly enthusiastic incarnation of Mr. Darcy’s housekeeper, Mrs. Reynolds, and also as Elizabeth’s practically-minded best friend, Charlotte Lucas, who ends up marrying the Bennets’ silly cousin, Mr. Collins, who is portrayed with a gleeful, almost morbid intensity by Andrew Kuhlman. And last but not least are Schwetye in an engaging, determined portrayal of Elizabeth and Wolbers as Mr. Darcy, giving him a more reserved and occasionally witty portrayal. The chemistry between Schwetye and Wolbers is strong, as is the chemistry among the sisters, and the staging lends to the characterization, and the sisters are often seen gathering to eavesdrop on their sisters’ conversations.

It’s a fresh, timely staging that brings out a lot of the story’s humor as well as examining its seemingly universal appeal. The set and lighting by Bess Moynihan contribute a great deal to the tone of the show. The big white tent and and minimal furnishings add to the always-in-motion quality of the play, and Elizabeth Henning’s costumes are especially impressive, featuring a blend of period details and modern flair, from Wickham’s leather jacket and pants to the colorful dresses of the Bennet sisters, and more, this is a production that celebrates the classic elements and the timeless quality of this show. There’s excellent sound design by Schwetye as well, and the use of music–mostly modern pop music rearranged as chamber music–works extremely well, especially in the wonderful Netherfield Ball sequence.

This is a fun show as well as a thought-provoking one. References to Colin Firth and Laurence Olivier are thrown in along with comments on women’s roles, the affluence of the characters, and more. A frequent theme that comes up in the testimonials is how the story can mean different things to the same person depending on when they read it.  Pride and Prejudice is a story that means a lot to many people, and although opinions can greatly vary, it’s a story that’s clearly made an impact over the generations. SATE Ensemble Theatre has presented this story well, as well as examining it, somewhat deconstructing it, challenging it, and celebrating it. Like so many of the shows SATE does, this show takes a unique approach, and it provides for a singular theatrical experience.

John Wolbers, Katy Keating, Nicole Angeli, Andrew Kuhlman, Jazmine K. Wade, Parvuna Sulaiman, Carl Overly, Jr.
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting First Impressions at the Chapel until May 27, 2017

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