Posts Tagged ‘sate ensemble theatre’

SATE and PPA Alumni Revisit “First Impressions” With Cleverly Staged Reading

Posted in St Louis Theatre, tagged , , , , , , , , on February 21, 2026| Leave a Comment »

First Impressions
An Adaptation of Pride and Prejudice by Jane Austen
Adapted by Ellie Schwetye
Directed by Ellie Schwetye & Rachel Tibbetts
PPA Alumni Theatre Company and SATE Ensemble Theatre
February 12, 2026

SATE and PPA Alumni Theatre Company recently offered audiences another impression of the award-winning Jane Austen-inspired work First Impressions at The Chapel, where SATE first debuted the show in 2017. Prison Performing Arts also staged a version at WERDCC in 2019, and video from both productions has been incorporated in the pre-show video for this latest version, billed as a “Fully Staged Reading Experience”. Although it was a reading, the staging was quite clever, and the use of actors live and on video contributed much in the way of humor and entertainment value. 

The premise is the same as before–an adaptation of Austen’s most famous novel Pride and Prejudice, interspersed with reflections from the cast about their experience with the novel and its various film adaptations. It’s been revised a fair amount since I saw the production in 2017, with more personal reflections and some more references to the 2005 filmed version of the novel. I was intrigued to note that several of the performers in this iteration stated that they hadn’t read the novel before working on this show, and so this production is their true “first impression”, although several others seemed to be longtime fans of Austen and the book, and issues discussed included favorite characters, comparisons of Mr. Darcy film actors, and the plot’s relevance for today. It’s a clever idea to adjust the reflections depending on the cast, which could work for future productions, as well.

The staging is crisp and lively, with fun use of the music stands used to hold the scripts the actors are reading from. The set by Bess Moynihan, who also designed the lighting, was whimsical and fun, featuring a video “portrait” in the middle of the performance area, featuring several cast members who recorded their performances in advance, including Patty Prewett as the imperious Lady Catherine DeBourgh, Hazel McIntire as scheming Caroline Bingley, Julie Antonic as Pemberley housekeeper Mrs. Reynold’s, and an especially fun turn by LaWanda Jackson and Janiece Moore giving running commentary and billed as “Statler & Waldorf”. Autumn Hales in a dual role as fourth Bennet sister Kitty and as Mr. Darcy’s younger sister, Georgiana The live cast was enthusiastic and memorable, as well, led by the excellent turns as Elizabeth Bennet and Mr. Darcy by real-life couple Alicen Kramer-Moser and Anthony Kramer-Moser. These two worked together well, exhibiting excellent stage presence and chemistry. There were also strong impressions made by Margeau Steinau and Eric Satterfield as Mr. and Mrs. Bennet, Hailey Medrano as the sweet eldest sister Jane Bennet, Miranda Jagels-Félix in a fun turn as middle Bennet daughter Mary, and Kristen Strom as the flighty, flirty Lydia. David Nonemaker as the somewhat silly Mr. Collins, Andre Eslamian in a dual role as the kind Mr. Bingley and rakish Mr. Wickham, and Victoria Thomas as Elizabeth’s practical-minded friend Charlotte Lucas also contributed much to the wit, humor, and fun of the production.

The rest of the technical elements were also strong, with notable distinction going to Brian Dooley and David Nonemaker for their excellent videography, and Dooley and Eric Satterfield for their video editing and projection design. The costumes by Tyler White and Kayla Lindsay featured a clever blend of Regency-era influence and modern style, and Ellie Schwetye’s sound design was also strong.

This show was, and continues to be, a fitting tribute to Austen’s classic novel and its fans over the generations. It’s a lively, versatile adaptation that works well in various formats, and I can easily imagine more iterations of it in various venues in the future. The only notable drawback to this production was that it only ran for one weekend, so more people didn’t get the chance to enjoy it. 

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SATE Takes the Audience on a Fun “Classic Aventure” With Much Energy and Nostalgic Style

Posted in St Louis Theatre, tagged , , , , , , , on September 17, 2025| Leave a Comment »

Classic Adventure Movie: Or Never Say Die
Written by Keating
Based on a Concept by Rachel Tibbetts, Keating, and Cassidy Flynn
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 12, 2025

Keating, Ricki Franklin, Cassidy Flynn, Ashwini Arora
Photo by Joey Rumpell
SATE Ensemble Theatre

Remember The Goonies? Maybe you do, and maybe you don’t, but it’s clear that Richard Donner’s 1985 film–with a script by Chris Columbus based on a story by Steven Spielberg–has become a modern classic, especially for Gen X and the Millennial generation. With a cast made up of performers of various ages and experiences, SATE explores the story of the movie in its own madcap way, while also–in a style reminiscent of their earlier show First Impressions–allowing moments for the cast members to reflect on the “classic adventure movies” that shaped their own lives. The end result–Classic Adventure Movie: Or Never Say Die–is full of action, humor, reflection, enthusiasm, nostalgia, and ultimately a whole lot of fun.

What’s especially fun about this show is that, even if you haven’t seen the film or if, like me, you haven’t seen it since it first came out in theatres, you’ll probably still be able to follow this show fairly easily. The Goonies story is told, essentially, but with revisions and references to other films and stories, with occasional nostalgic breaks as the cast members tell of the films that shaped their lives, from more obvious selections like E.T. The Extra-Terrestrial to perhaps more surprising fare like Under the Tuscan Sun, and covering many decades of cinematic history, with a high concentration on movies from the 1990s and early 2000s. 

The adventure theme is present throughout, as the “Goonies”–an “outcast” group of kids and teens in their small Oregon town–find a treasure map apparently made by a long-lost pirate called One-Eyed Willy. The kids, led by Mikey (Ricki Franklin), Mouth (Cassidy Flynn), Chunk (Keating) and Data (Ashwini Arora) go on a quest to find the map with the hopes that the treasure will help them save their homes, which are slated to be demolished in order to build a Top Golf. Soon, the group finds themselves at odds with the criminal Fratelli family–brothers Jake (Anthony Kramer-Moser) and Francis (Victor Mendez) and their bossy Mama (LaWanda Jackson), who hope to find the treasure for themselves. They also are eventually joined by Mikey’s older brother Brand (Carl Overly, Jr.), Brand’s cheerleader crush Andy (Hailey Medrano), and Andy’s best friend Steph (Marcy Wiegert), along with appearances by fellow cheerleaders Barb (Katie Donnelly) and Lizzie (Courtney Bailey) and superstar pop singer Cyndi Lauper (Frankie Ferrari), who gets to play a much bigger part in this show than the cameo appearance she had in the film. 

There’s a lot going on here, with fun moments of humor and pop-culture references, and especially strong ensemble chemistry with no weak links in the cast. The four main Goonies are standouts, with some excellent moments from everyone else as well, and Ferrari seemingly having a blast playing Lauper and getting to lead the cast in an energetic rendition of one of Lauper’s hit songs. The nostalgia moments are fun, as well, exploring the very real way film has come to shape the lives of so many throughout the generations, and how “adventure” can mean different things to different people. 

The performance space at The Chapel has been used to maximum benefit by means of Erik Kuhn’s imaginative and detailed set, decorated with movie posters and nostalgic artifacts. Also noteworthy are Katie Leemon’s memorable props, the marvelous lighting by by Denisse Chavez and excellent sound by Ellie Schwetye that helps keep up the overall nostalgic and adventurous tone of the show. Liz Henning’s costumes are also excellent, adding a lot of nostalgic fun to the story and suiting the characters and overall tone especially well.

This is another hit from SATE. This company is great at what it does, with a quirkier take on theatre that also highlights creativity, imagination, intelligence, and heart. With a clever script by Keating, fast-paced direction by Rachel Tibbetts, and a first-rate cast who all seem to be having a fantastic time, this is a show that entertains with a lot of energy and charm. It’s a real adventure of a comedy, with loads of nostalgic charm and style. 

Cast of Classic Adventure Movie: Or Never Say Die
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting Classic Adventure Movie: Or Never Say Die at The Chapel until September 27, 2025

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SATE’s “Aphra Behn Festival” Impresses with Thoughtful, Imaginative Stories

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

Ninth Annual Aphra Behn Festival
SATE Ensemble Theatre
April 5, 2025

Image: Sate Ensemble Theatre

SATE’s annual Aphra Behn Festival ran last weekend at the Chapel, reflecting the company’s theme for its 2025 season: the “Season of Adventure”. All three plays featured here explore that theme in different ways, and they are each especially entertaining and thought-provoking in their own ways. This is an excellent lineup of plays, with first-rate casts and thoughtful direction. Here are some brief thoughts about all three entries:

“Felicity” by Dylan Molloy, Directed by Ashwini Arora 

This play is part coming-of-age story, part sci-fi, and overall a fascinating look at two young people and their relationships with each other and the world around them. The two characters are remarkably played by Lyd Foss as Will and Rose Shawver as June. The two are childhood best friends who are facing the reality of growing up in a world where their future seems bleak, but the imminent launch of the spaceship Felicity in an effort to colonize Mars gives them a moment to reflect on their place in the world, as well as how they relate to each other and their peers.

The sci-fi elements here are subtle but clear, and there are also themes of climate change, economic disparity, and strict class structure. It’s one of those “five minutes in the future” sort of stories, which adds a compelling backdrop to the main attraction, which is these two intriguing characters and their interactions, which show their close bond as well as the threats from growing up and pressures of outside expectations. The setup here, and the conversations, seem entirely natural and credible. This is a play that’s made even more powerful by the thoughtful performances and direction. It’s a thought-provoking, profoundly insightful story.

Scenes from Pierrot’s Blanket by Meredith Lyons, Directed by Christina Yancy

This delightful presentation is apparently a series of vignettes from a larger work, centering on traditional French “Sad Clown” character Pierrot, or Pierre (Joseph Garner), and a sort of love-interest character known as “Blanket” (Miranda Jagels Félix), who become involved in a series of comic escapades that are also contain degrees of romance and poignancy. There’s also a great deal of physicality involved, involving mime and physical comedy.

Garner is a delight in a highly expressive performance as the earnest Pierre, who finds himself in various situations including working in a high-pressure restaurant kitchen presided over by an imperious chef (Jan Niehoff), and as a guest performer on a late night talk show hosted by the excellent Niehoff. Jagels Félix is also excellent as the elusive, flirtatious Blanket, and Kaylyn McCoy provides strong support as an apprentice chef and the talk show announcer. This is a highly entertaining story and it made me curious about what the full show is like.

“The Inferno is for B*tches” by Aurora Behlke, Directed by Kayla Lindsay

The evening got a hard-rocking finale in this clever, creative show following a high school student, Heaven (Celeste Genevieve Gardner) trying to salvage her grade after having failed to finish an essay on Dante’s Inferno by performing a “visual essay” of sorts in the form of a punk-rock concert and skit, aided by her twin cousins Manny (Bradley Rohlf) and Mannie (Claudia Barney), who play in her band as well as playing characters in a sort of reenactment of the Inferno story  casting Heaven in the central role, as she has been apparently banished to hell for pirating the movie Detective Pikachu on her family’s computer. 

This show is a lot of fun, featuring a good representation of what the Inferno is about while also giving it a driving punk score and lots of modern youthful attitude. Gardner is full of energy and likable personality as Heaven, and Barney and Rohlf are also strong in their supporting roles and musical skills. This is a hilarious, thought-provoking, musically memorable show that leaves a strong impression and works well as a finale for the festival.

There’s also great work across the board from lighting designer Erik Kuhn, costume designer Tyler White, and  projection designers Kayla Lindsay and Ellie Schwetye, sound designers Christina Yancy and Schwetye. The technical aspects of all shows contributed to the overall look and vibe of this festival, and added much in the way of entertainment value. Overall, this was a thoroughly impressive Aphra Behn Festival, and I hope each of these shows can have a life beyond their initial performances. 

 

 

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SATE’s “Tempest in a Teapot” is a Whimsical, Fascinating Emotional and Literary Journey

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 2, 2024| 1 Comment »

Tempest in a Teapot
By Shualee Cook
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 26, 2024

Chrissie Watkins and Cast
Photo by Joey Rumpell
SATE Ensemble Theatre

If you love Shakespeare and the works of Lewis Carroll, then SATE’s latest show is for you! Even if you’re not a huge fan of one or both these writers, however, there’s a lot to learn in this world premiere performance of local playwright Shualee Cook’s Tempest in a Teapot. It does help to be familiar with the source material to some degree, but still this is a fascinating, character-driven look at growing up, self-discovery, and how lives can be affected by others’ opinions and actions in expected and unexpected ways. 

The story here blends history and fantasy, as Alice Liddell (Chrissie Watkins) lives in Victorian-era Oxford and, as she is reaching young adulthood, has to grapple with the expectations of society and her professor father (Adam Flores), who expects her to marry well and settle down, while Alice isn’t sure what she wants to do. Enter Reverend Charles Dodgson, otherwise known as Lewis Carroll (John Wolbers), who visits after a long absence, making Alice have to reckon with her past as the inspiration for Carroll’s Alice in Wonderland books. As Alice is trying to make sense of her life, she is visited by the Cheshire Cat (Kay Ailee Bush), who coaxes her back to Wonderland, where the Mad Hatter (Flores), the March Hare (Keating), and the Dormouse (Summer Baer) await. Since Carroll had recently recommended that Alice read Shakespeare’s The Tempest, the Wonderland residents decide to read the play and act it out, casting Alice as Miranda–although she also ends up playing other roles, as well as featuring in flashback sequences about her own life. Carroll becomes Prospero, with the others playing a variety of roles as Alice is forced to confront her feelings about being Carroll’s “muse”, as well as trying to figure out who she is amid the expectations of the society in which she lives, along with her own family. What ensues is a cleverly constructed mashup of the Wonderland stories, The Tempest, and the intersecting lives of Alice and Lewis Carroll, with a good deal of humor and emotional reflection along the way.

As mixed up as the story may seem, and considering my Alice in Wonderland knowledge comes mostly from film adaptations, I found this story surprisingly easy to follow. It helped to read the Wikipedia pages for Alice Liddell and Lewis Carroll at intermission, but generally, this was a fairly straightforward “coming of age” tale couched in whimsy and fantasy, with vivid characterization and a strong, enthusiastic cast, led by the truly fantastic performances of Watkins and Wolbers, who portrayed a believable relationship and credibly complex characters. The rest of the cast is also strong, with energetic turns from Keating, Baer, and Flores, and an added air of confrontation and mystery from Bush. All of the players work especially well together, emphasizing the concept of “ensemble” as SATE constituently does so expertly.

The look and style of this piece is also memorable, with a versatile set design by Bess Moynihan and Ellie Schwetye that fits well in the Chapel performance space. There are also especially clever costumes by Liz Henning and Kayla Lindsay that add to the overall whimsicality of the proceedings and characterizations. Moynihan’s lighting and Schwetye’s sound design also contribute ably to the overall vibe of the show, as do the  props by Cecile “Cece” Entz and Katherine Leemon.

My only major regret about this production is that the show isn’t still running, because I would be telling everyone with even a mild interest in the subject matter to see this play. Tempest in a Teapot takes a clever concept and gives it life by means of a strong cast and vibrant staging. It’s another fun and thoughtful show from SATE.

Chrissie Watkins, John Wolbers
Photo by Joey Rumpell
SATE Ensemble Theatre

Conclusion–I regret that I wasn’t able to get this review out before the show closed.

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SATE’s Aphra Behn Festival is an Entertaining Showcase

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , , , , , , on April 7, 2024| Leave a Comment »

8th Annual Aphra Behn Festival
SATE Ensemble Theatre
April 4, 2024

Image: SATE Ensemble Theatre

SATE’s 8th Aphra Behn Festival ran at the Chapel this past weekend, and it was a lot of fun, with a large, enthusiastic audience and a slate of promising plays with strong casting and direction. Here are a few thoughts on this year’s featured shows:

“The The”
by Anne Valentino
Directed by Michelle Hand

This clever play has my vote for best of the evening, with an intriguing premise, compelling characters, and strong performances. Meghan Baker plays Allie, who works for a hotel chain’s corporate office in the “hotel naming” department. She’s been sent to investigate a West Virginia hotel, The Thisben, to get local reaction concerning whether or not the hotel should be able to keep the “The” in its name. Allie is also an aspiring photographer whose work her husband, Jason (David Cooperstein) often belittles. 

The performances are good here, with the star of the show being Keating in a variety of roles at The Thisben–including the desk clerk, the manager, the maid, and the daycare director–who may or may not all be the same person. Keating’s comic timing and versatility are impeccable, and the highlight of the show. Michelle Hand’s thoughtful direction is also a plus here, and the script is fun, although the pre-West Virginia moments lag a bit. 

“Left to Lose”
Written and Directed by Stella Plein

This one is more of a sci-fi offering, presented as a staged reading. The three performers do their best, led by Angela Chan as lead character Ezra and as “The Radio”, although the distinction between the two parts is not always clear. As Ezra deals with a personal loss involving a national tragedy, Deniel Lee as “The Public” interjects reactions to the events and Ivy Liao as Ezra’s husband, astronaut Hayou, provides moments of pathos. It’s a promising story, but I think more could be done in terms of clarity and definition of the characters.

“Run Run Run as Fast as You Can”
by Tessa Van Vlerah and Dylan Staudte
Directed by Katie Leemon

The writers of this play appear to have been influenced to some degree by Dr. Horrible’s Sing-Along Blog, with its portrayal of super-villains in a comic way. The premise has said villains in a support group led by Limburger (Andre Eslamian), challenging them to examine their lives and reform. Sienna, the fox (Sam Hayes) is somewhat snarky, but Royal Pea (LaWanda Jackson) is even more surly, as well as being snooty and entitled. All three players give well-timed comic performances, and the staging is energetic and memorable. Kayla Lindsay’s costumes–strong throughout the various plays–are especially outstanding here.

“The Croning”
by Margeau Steinau
Directed by Abigail Greaser

It’s a party! Or is it a fight? Well, it’s kind of both, as three personifications of feminine archetypes–the Maiden (Anna Rimar), the Mother (Katie Puglisi), and the Crone (Jodi Stockton) engage in a struggle as the aging Crone tries to take stock in her life and integrate the three characters into one. This is the most symbolic of the plays at the festival, and it highlights Erik Kuhn’s lighting as well as featuring energetic staging by director Abigail Greaser and three fun performances, as well as good amount of confetti and glitter! It’s a memorable way to conclude the festival, which also incorporated readings of poems by writers associated with Prison Performing Arts.

Even though this is the 8th annual festival, it’s the first time I’ve attended, and I’m glad I did. It’s a compelling showcase for its playwrights, directors, and performers, and I look forward to seeing what the 9th festival has to offer. 

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Hilarious Remix from SATE is Theatrical, “Palpable” Fun

Posted in St Louis Theatre, tagged , , , , , , , , , on August 23, 2023| Leave a Comment »

This Palpable Gross Play
A Kind-Of Midsummer Night’s Dream
Adapted from Shakespeare by Ellie Schwetye, with Lucy Cashion and Jimmy Bernatowicz
Directed by Lucy Cashion
SATE Ensemble Theatre
August 17, 2023

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

In considering the latest new production from SATE, the old adage “you write what you know” comes to mind, considering both the source material and the adaptation. It’s clear that this is a very “theatre-y” production, by theatre people, about theatre people, and probably best appreciated by theatre people. Still, even if you’re not an actor, director, or other theatre maker, this is a fun deconstruction that showcases its fine cast and is sure to provide much laughter and pondering. 

This show is more whimsical remixing from creatives who are known for this kind of thing, and they do it extremely well. Primary adaptor Ellie Schwetye and director Lucy Cashion (who also contributed to the adaptation) have both been involved with several productions that take established works and either re-examine them or turn them completely on their heads, and usually both. This one does both with an emphasis on the “turning on its head” element. Here, the characters and basic plot is taken from William Shakespeare’s A Midsummer Night’s Dream, but it’s not a straightforward telling of that story. Here, the story focuses mostly on Puck (Ross Rubright) and the “Mechanicals” (Kristen Strom, Andre Eslamian, Kayla Ailee Bush, Joshua Mayfield, and Anthony Kramer Moser)–the group of artisans and amateur actors who put on a play for a royal wedding. In this show, though, the play isn’t about Pyramus and Thisbe, but about the mixed-up lovers from the source play–Hermia, Lysander, Demetrius, and Helena.  Puck is involved here as “Robin Starveling”, growing more and more frustrated with the various attempts at “acting” from the group–from the overzealous and opinionated Bottom (Eslamian), to the unenthusiastic Flute (Bush), to the self-doubting newcomer Snug (Kramer Moser), to overwhelmed director Peter Quince (Strom). Puck has ideas about what to do about this problem, though, that somehow involve a sleeping drug commercial from a few years ago. Meanwhile, Puck also has his fun with an ongoing feud between fairy Queen Titania (Victoria Thomas) and King Oberon (Spencer Lawton), with the anticipated  result being switched up in clever and hilarious manner. 

My description of the show seems woefully inadequate, since I would spoil too much if I went into too much detail. Let me just say that a lot goes on here, from “actor-y” in-jokes to clever staging, and hilarious “behind-the-scenes” moments, as the play rehearsal happens on one plane on the stage, with the Titania/Oberon/Puck hijinks happening mostly in the background. The cast is marvelous, as well, led by Rubright in a self-assured performance as the charming and somewhat smug Puck. Everyone is excellent though, so it’s difficult to single anyone else out. The ensemble chemistry is brilliant, and the staging is precise and well-timed. It looks great, too, with a fantastic set by Schwetye and Cashion, delightful costumes by Liz Henning and props by Rachel Tibbetts, and strikingly atmospheric lighting design by Erik Kuhn. There’s also a memorable music score and sound design by Joe Taylor. 

This is SATE, so I was expecting clever, unique, and unusual, and that’s what This Palpable Gross Play provides, with a lot of enthusiasm and personality. It’s one of those shows that might benefit even more from repeated viewings, considering how much is going on in one place. It’s another fun, thoughtful show from this excellent local company. 

 

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting This Palpable Gross Play at The Chapel until September 2, 2023

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SATE Invites Audiences to an Energetic, Poignant, Superbly Cast “Party”

Posted in St Louis Theatre, tagged , , , , , , , , on August 18, 2022| Leave a Comment »

Brontë Sister House Party
by Courtney Bailey
Directed by Keating
SATE Ensemble Theatre
August 17, 2022

Maggie Conroy, Cassidy Flynn, Rachel Tibbetts
Photo by Joey Rumpell
SATE Ensemble Theatre

I love SATE. I say that every time I write a review of one of their productions, it seems. I say it so much, I’m afraid I’m going to sound like a shill, or insincere. But it’s true, and absolutely sincere. I love this theatre company, because they embody what is truly exciting about theatre, time and time again. From production to production, SATE seems to strike just the right notes, whether the play is comedy or drama, new play or classic. Their latest, local playwright Courtney Bailey’s Brontë Sister House Party, is another example of SATE’s remarkable legacy of excellence.  This production, with its clever production and first-rate cast, is at once hilarious, poignant, thoughtful, challenging, educational, historical, and modern. 

This play is a bit of history, a bit of fantasy, a bit of philosophy, and a lot of party. Hosted by the famed literary sisters of the title, Charlotte (Maggie Conroy), Emily (Rachel Tibbetts), and Anne Brontë (Cassidy Flynn), this party is an existential exercise as well as an interactive experience with a moderate degree of audience participation. The sisters, after their lives on earth, have apparently been cursed by the unseen but much talked-about “Lavender Witch of Gondal” to exist in a “purgatorial time loop” for seemingly endless nights, hosting a new house party each night until they are finally able to reach the elusive and mysterious “Point of Celebratory Reverence”. Through the course of the evening, they lament their apparent lack of ability to throw parties, as well as recounting their lives and their relationships with their work; their brother Branwell (Joel Moses), who doesn’t know about their novels; and even fictional characters from their novels, such as Jane Eyre‘s Helen Burns (Vicky Chen) and Cathy (Bess Moynihan) from Wuthering Heights. Singer Kate Bush (LaWanda Jackson), who sang a song about Wuthering Heights, also figures into the story, as does a personified version of Amazon’s Alexa virtual assistant (Zeck Schultz), who serves as the DJ for the party. 

It’s a house party, and the atmosphere is remarkably realistic, as the evening goes through its degrees of anticipation, drinking, dancing, celebratory music, followed by a series of soul-bearing stories, revelations, and cathartic bonding. It’s an exploration of the sisters’ relationships to one another, as well as to their art and the times they lived in, and particularly to men, including their troubled brother. The entire look and tone of the production is set with just the right touches, as Bess Moynihan’s stunningly detailed set and lighting portray a much lived-in 19th Century house and the changing moods as the party progresses, The soundtrack of well-chosen songs suit the mood especially well, including some new music by playwright Bailey. The characters are outfitted with impeccable detail by Liz Henning, and Schultz’s sound design also adds much to the mood of the show. 

The scene is ideally set, which makes for a good party, but the most important part of any party is the people, and the hosts and guests are all especially well-cast. As the sisters, Conroy, Tibbetts, and Flynn all get their moments to shine, from silly fun near the beginning, provided most often by Flynn as the “nice sister”, Anne, to snarkiness from the guarded Emily, to seemingly misplaced hope from Charlotte, who still expects the professor she’s obsessed with to turn up, despite having missed thousands of parties already. The chemistry and interplay between these three provides much of the energy and emotion of the show, and there’s never a dull moment here. There are also excellent turns from Moses as the needy Branwell, Moynihan as the fiery, persistent Cathy, Chen as the disgruntled Helen, who gets a fun musical moment, and Jackson in an entertaining and well-sung turn as Kate Bush, even though Jackson doesn’t sing in the style of Bush.  There are a lot of intense moments here, as well as some fun surprises in terms of storytelling and staging, as the show manages to keep the audience involved and guessing what will happen next all the way through. 

I can’t give too much away concerning what happens at this party, but I will say it’s well worth attending. Even if you don’t know a lot about the Brontë sisters, it’s a fascinating show, with much to learn about the sisters, their stories, and their times, as well as some timeless thoughts about the human experience in general. It’s a compelling script, made all the more compelling by the remarkable pacing, technical qualities, and especially the performances. It’s another excellent show from one of my favorite theatre companies in St. Louis. 

Cassidy Flynn, Rachel Tibbetts, Maggie Conroy, Bess Moynihan
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE is presenting Brontë Sister House Party at The Chapel until August 27, 2022

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“Women of Lockerbie” Sing a Song of Grief, Hope for Healing in SATE’s Haunting Production

Posted in St Louis Theatre, tagged , , , , , on November 8, 2019| Leave a Comment »

The Women of Lockerbie
by Deborah Brevoort
Directed by Pamela Reckamp
SATE Ensemble Theatre
November 7, 2019

David Wassilak, Margeau Baue Steinau, Sarajane Alverson, Leslie Wobbe, Kim Furlow, Jennifer Theby-Quinn
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is continuing its tradition of thoughtful, thought-provoking and inventive theatrical productions with a soul-wrenching, poetic presentation of Deborah Brevoort’s play, The Women of Lockerbie. Told in the style of a Greek tragedy, this show looks at grief–both personal and corporate–from many angles, infusing a musical sensibility throughout. At SATE, the production is characterized by powerful performances and a strong sense of time, place, and mood. It’s at once something you might expect and something entirely new, and it’s riveting from start to finish.

The story is fairly simple, although the way it is told explores many of the complexities involved. Lockerbie, Scotland is the setting, seven years after the terrible tragedy that made the previously obscure town a household name–the explosion of Pan Am Flight 103. Here, the action begins at night in December 1995, on the anniversary of the crash. After an evening memorial service, we meet an American couple, Madeline (Margeau Baue Steinau) and Bill Livingston (David Wassilak), who lost their 20-year-old son, Adam, in the disaster. Adam’s remains haven’t been recovered, so Madeleine is roaming the hills in a futile search for some tangible sign of her son, while Bill urges her to give up the search and move on with her life. Soon, they are followed by a contingent of women from the town, led by Olive Allison (Leslie Wobbe), who has been leading an effort to get the clothes of the crash victims released to the women of the town, so they can wash them and return them to the victims’ families. They have pleaded their case to American official George Jones (Michael Cassidy Flynn), who has already declared his intention to have the clothes destroyed, but the women, including Olive, warehouse cleaning woman Hattie (Teresa Doggett), and others represented by a “Greek Chorus” symbolizing Intellect (Sarajne Alverson), Emotion (Kim Furlow), and Memory (Jennifer Theby-Quinn), will not give up their mission. This is the basic premise, but there’s a lot going on here, as the various aspects of grief are explored through the stories of each of the characters, and the Livingstons deal with how the whole situation has effected their relationship. It’s a highly personal, poetic tale that carries a heavy emotional weight, although not without rays of hope, even literally at times due to Bess Moynihan’s richly evocative lighting. There are some songs here, too, well sung by the cast, but even in the spoken moments the show takes the tone of a song of lament, deeply emotional and profound.

In addition to the excellent lighting, the physical presentation of the production is also excellent, starting with Moynihan’s highly symbolic set in which the landscape appears to be made mostly of clothes.  The costumes by Liz Henning, sound design by Ellie Schwetye, and props by Rachel Tibbetts also contribute well to overall atmosphere and tone of the production. Director Pamela Reckamp has paced the production with the right balance of energy and stillness, as well, lending an urgency at times and a sense of clear, emotional reflection when needed.

The cast of eight performers is uniformly superb. The haunting “Greek Chorus” of Alverson, Furlow, and Theby-Quinn provides a lot of the reflective, emotive sensibility of the piece, and Flynn communicates a sense of humanity in his portrayal of Jones, who is essentially the “villain” of the piece. Doggett as Hattie provides some of the needed lighter moments of the show, as well as a strong sense of determination. The emotional center of the show, however, belongs to the brilliant Wobbe as Olive, who is more complex than she first appears, as well as the excellent Steinau and Wassilak as the Livingstons, who each have their own journey of grief to navigate, separately and together. There’s strong chemistry throughout the ensemble, and a real sense of community and corporate grief and the constant drive for healing. It’s a remarkable ensemble, without a single weak link.

What else can I say in conclusion, other than that SATE has done it again. This company consistently produces the highest quality of theatre, and The Women of Lockerbie is the latest example. Bearing in mind that the subject matter is heavy and deals with the loss of loved ones and personal stories of grief, this is a highly emotional, thoughtful production featuring a first-rate cast, and a must-see theatrical experience.

Teresa Doggett, Leslie Wobbe, Sarajane Alverson, Kim Furlow, Jennifer Theby-Quinn, David Wassilak, Michael Cassidy Flynn
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting The Women of Lockerbie at The Chapel until 23, 2019

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SATE and ERA Make “Antigone” Personal, Universal With Thought-Provoking Production

Posted in St Louis Theatre, tagged , , , , , , , , , , on August 15, 2019| 1 Comment »

Antigone: Requiem Per Patriarchus
By Lucy Cashion and the ensembles at the Women’s Eastern Reception, Diagnostic, and Correctional Center; St. Louis University Theatre; SATE; and Equally Represented Arts
Directed by Lucy Cashion
SATE Ensemble Theatre, Equally Represented Arts
August 14, 2019

Cast of Antigone: Requiem Per Patricarchus
Photo by Joey Rumpell Photography
SATE Ensemble Theatre, Equally Represented Arts

“Who is Antigone?” That’s a question the audience is directly asked multiple times and in different ways throughout SATE and ERA’s latest, called Antigone: Requiem Per Patriarchus.  It’s another Lucy Cashion remix of a work of classic drama, brought to today’s audiences in a way that speaks to both its timeless universality and its more personal connection with individual viewers and readers. As is usual for Cashion and for both of these theatre companies, the result is both convention-challenging and thought-provoking, showcasing a superb cast of local performers.

This isn’t your English teacher’s Antigone, although the play’s reputation as an oft-studied and assigned classic work of literature is addressed in this production. In a way, this is more than one story, and the set-up is essentially like a play-within-a-play. The set-up begins before the play “officially” starts, in a similar vein to other productions I’ve seen from both of these companies. The cast members wander the audience, each introducing herself as “Antigone”. As the play begins, the “sisters”–all clad in khaki-colored prison outfits, gather together in the middle of the floor space at the Chapel performance venue. They are all Antigone, they inform the audience, and they are in prison, but they are also dead, in some kind of in-between state, set to retell and reenact their story over and over. They read letters, they talk about the expectations and impressions that the Antigone story has produced over the centuries, and they express their solidarity as well as their individual voices. Then, in a stunning musical transition, the situation shifts, and the cast members all don flowing gowns and perform a version of the Antigone tale, with each “Antigone” taking a specific role and examining both the play itself and the timeless issues it raises, including the abuse of power and authority, men’s and women’s roles in society, speaking up for oneself and others, loyalties to families and countries, and more. The story at this point runs basically as it’s known, with Antigone standing up to her uncle, King Creon, who is refusing to allow her brother, who was killed along with another brother on opposing sides of a recent war, to be buried. As is usual for a Cashion show, the classic tale is blended with other influences, such as various cultural references and especially for this production, music. Various pop and rock songs are sampled in the production, and the cast members sing at various times. There’s also a persistent, ominous and highly effective percussion backing throughout, proficiently provided by Marcy Ann Wiegert.  There’s also intense drama and a touch of sarcastic humor. It’s one of those shows where I wish I could see it multiple times, because there is so much going on that it can be too much to process at times. Still, it’s a bold, challenging work, with an emotional resonance and a confrontational style that emphasizes both the personal and the universal about the Antigone story.

The cast is universally strong, with excellent moments from all–Alicen Moser, Victoria Thomas, Laura Hulsey, Taleesha Caturah, Ellie Schwetye, Natasha Toro,  and Miranda Jagels-Felix, with Wiegert supplying the drums and also as a member of the show’s Greek Chorus. it’s a true ensemble piece, with the whole cast contributing and working together as a cohesive unit, bringing out the meaning and depth of the play through collaboration, although there are some individual highlights. Standouts include Moser as the imperious and increasingly conflicted Creon, Jagels-Felix as a particularly strong-willed  “main” Antigone, Caturah as the haunting, challenging blind prophet Tyresias, and Schwetye in a series of stand-up comic routines that help maintain a confrontational, iconoclastic tone as the story plays out. The ensemble chemistry is excellent, as is the use of movement throughout. It’s a dynamic production, with a suitably dynamic cast and direction.

The visuals here are memorable, as well, transforming the small space at the Chapel into an otherworldly realm that the ensemble inhabits. With simple but lush scenic and sound design by Cashion, along with Erik Kuhn’s evocative lighting and Liz Henning’s distinctive costumes, the full dramatic effect of this show is enhanced. It’s an impressive transformation of the space.

I’ve made it no secret what I think about both SATE and ERA. Both companies are bold, innovative, thoughtful, and consistently excellent in acting and staging. This Antigone is another example of that tradition of excellence. It’s timeless, but it’s also very much “now”, with themes that speak to humanity, and particularly women’s experiences, throughout history. It’s a lot to think about and a lot to see. It’s a truly stunning presentation.

Cast of Antigone: Requiem Per Patricarchus
Photo by Joey Rumpell Photography
SATE Ensemble Theatre, Equally Represented Arts

SATE and Equally Represented Arts are presenting Antigone: Requiem Per Patriarchus at The Chapel until August 31, 2019

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“Mystery Game” at SATE is Hilarious, High-Energy Fun

Posted in St Louis Theatre, tagged , , , , , , on February 2, 2019| Leave a Comment »

Classic Mystery Game
by Katy Keating
Directed by Katy Keating
SATE Ensemble Theatre
February 1, 2019

Cast of Classic Mystery Game
Photo by Joey Rumpell
SATE Ensemble Theatre

Do you like board games? Murder mysteries? Fast paced, high-energy comedy? Well, if you do, SATE has a “Clue” for you! Classic Mystery Game is writer-director Katy Keating’s parody of the well-known mystery game, Clue, as well as a tribute to the 1985 film based on the game. In the capable, creative hands of Keating and the cast and crew at SATE, it’s a fast-paced, highly physical examination of 21st century American culture as well as a riff on the classic style of the game.

Ostensibly based on the movie, this play is more based on the game itself, with a fair amount of local and topical references thrown in, including an opening video sequence that features the performance venue, the Chapel. Staged on the floor at the Chapel with the audience seated on the stage, the cast performs before a large painted replica of the Clue board. Bess Moynihan’s set design is especially clever, with that board featuring the rooms with lights around them that light up as each room is featured in the story, and a versatile set consisting of furniture and a movable door that is moved around as needed. Costume designer Liz Henning has outfitted the characters in colorful, vaguely 1950s-ish style, and Ben Lewis’s lighting helps highlight the ominous, comically haunting atmosphere. There’s also excellent work from props designers Rachel Tibbetts and Bess Moynihan, as well as fight choreographer Ryan Lawson-Maeske. The sights, sounds, and atmosphere are all set remarkably well, setting the stage for Keating’s witty, rapid-fire dialogue and fast-paced action as butler Wadsworth (Michael Cassidy Flynn) introduces the story and serves as narrator while participating in the story as well.

This is a hilarious show, with a spirit reminiscent of old-time sketch comedy shows. All the regular characters from the game are here–Col. Mustard (Carl Overly, Jr.), Mrs. White (Ellie Schwetye), Mrs. Peacock (Rachel Tibbetts), Mr. Green (WIll Bonfiglio), Prof. Plum (Paul Cereghino), and Miss Scarlet (Maggie Conroy), along with Mr. Boddy (Reginald Pierre) and two “clowns” (Marcy Ann Wiegert, Bess Moynihan) who play a variety of roles each. The styling of the show serves the story especially well, with the flat cut-out glasses used for cocktails, and the representations of the weapons from the game. Everything moves very quickly, with a story that touches on conspiracy, government cover-ups, secrets and lies, and lots and lots of scheming, as the characters assemble under a pretence, and then are driven to search throughout the house for clues once a murder occurs. Well, once the first murder occurs. Yes, there are more murders, and more surprises, a series of revelations and lots and lots of jokes. There’s wordplay and innuendo, along with physical comedy, sight gags and more as the story continues on its rapid pace until its suitably hilarious conclusion. I won’t give any more details, because that will spoil the fun. And fun, it certainly is.

The performances are strong across the board, and everyone has standout moments, with Flynn as the obvious MVP for his fully realized, energetic comic performance. This is a performance that’s sure to take a lot of energy, and Flynn plays his role well. Everyone else is also excellent and it’s difficult to single anyone out. Everyone is their own unique, distinctive character, and everyone shows incredible energy and superb comic timing. It’s an ensemble show worthy of a theatre company where “Ensemble” has always been front and center.

Classic Mystery Game is Clue with a side of whimsy and snark. It’s topical, timely, and timeless all the same, and with so many jokes that, if you miss one, you’ll probably catch the next one. As is usual for SATE, this show is offbeat, excellently performed, and not to be missed.

Cast of Classic Mystery Game
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting Classic Mystery Game at the Chapel until February 16, 2019

 

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