Posts Tagged ‘sharon hunter’

New Jewish Theatre’s “Gloria” is a Well-Cast Portrait of a Woman and a Movement

Posted in St Louis Theatre, tagged , , , , , , on June 7, 2023| Leave a Comment »

Gloria: a Life
by Emily Mann
Directed by Sharon Hunter
New Jewish Theatre
June 1, 2023

Jenni Ryan
Photo by Jon Gitchoff
New Jewish Theatre

For a while in recent history, and especially in America, it often seemed to me that the first person that most people would think of when they heard the word “feminist” was Gloria Steinem. Steinem has been a highly visible figure over the years, beginning in the 1960s and continuing to today, although she’s not quite as ubiquitous as she once seemed. Becky Mann’s play Gloria: a Life, currently being staged by the New Jewish Theatre, looks at this prominent figure in the history of the feminist movement, as well as some of her contemporaries and how the world has changed over the years as a result of their efforts. It features a strong cast, led by an impressive leading performer who took on the role at essentially the last minute.

This is a relatively short play, told in the first person from the perspective of Steinem, who is played by Jenni Ryan and supported by a cast of performers who all play various roles as the story unfolds (Summer Baer, Kayla Ailee Bush, Sarah Gene Dowling, Carmen Cecilia Retzer, Chrissie Watkins, and Lizi Watt).  It’s essentially a quick but very personal look at Steinem’s life and her role in the feminist movement, often referred to as “Women’s Lib” back in the day, as well as a brief overview of the movement itself, especially in the 1960s and 70s, also serving as a striking contrast to how societal expectations and laws regarding women have changed over the years–from the 1950s idealization of the “perfect” wife and mother to the revelation of the real struggles that women went through to be taken seriously in work and life. The story showcases Steinem’s formation as a journalist and as a world-famous leader, while also highlighting the work of other important figures in the feminist movement, including congresswoman Bella Abzug (Dowling), Cherokee leader Wilma Mankiller (Watt), and Black feminist leaders Dorothy Pitman Hughes (Bush) and Flo Kennedy (Watkins). 

The story is as thorough as it can be in its short running time, which is essentially one act with a short “talking circle” added on as “Act Two”, in which various local leaders–with a different “guest responder” each performance–join the cast onstage to talk about their experiences, react to the play, and respond to questions from the audience. At the performance I saw, the guest responder was state representative Tracy McCreery. 

The staging is energetic and fast-moving, as the story unfolds and Steinem tells her story of her life and work. Ryan gives a thoroughly engaging performance as Steinem, which is all the more impressive considering she was a last-minute replacement in the role, and had script in hand on opening night, even though the presence of the script didn’t take anything away from Ryan’s compelling portrayal. There is also excellent support from the strong cast, who all play a variety of roles. All of the players are excellent and perform their roles with energy, although if I have to choose a standout, I think Dowling is especially excellent in her two most prominent roles, as Steinem’s mother, Ruth, and as the outspoken Abzug. 

The show also makes a strong impression in a technical sense. The play is performed in the round, with a simple but effective set by Fallon Podrazik that works well for the tone and pace of the story. Michele Friedman Siler’s costumes are terrific, featuring the distinctive looks of various eras and characters portrayed, with the vibrant 1970s outfits a highlight. There’s also excellent work from lighting designer Denisse Chavez and sound designer Amanda Werre, and the use of era-specific music works well to help move the story along.

No matter how much you know, or don’t know, about Gloria Steinem, and whatever you may think about her and her work, there’s no doubt that she has been a prominent figure in history for the past 60 years or so. This is a look at her life, her causes, and her contemporaries that’s intriguing and fascinating even if it is brief.  It’s compelling theatre from a company known for excellence in its productions. 

Cast of Gloria: a Life
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Gloria: a Life at the J’s Wool Studio Theatre until June 18, 2023

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Moonstone’s “Grand Horizons” is a Well-Cast, Intriguing Look at Relationships, Family

Posted in St Louis Theatre, tagged , , , , , on March 21, 2023| Leave a Comment »

Grand Horizons
by Bess Wohl
Directed by Sharon Hunter
Moonstone Theatre Company
March 17, 2023

Sarah Burke, Joneal Joplin
Photo by Jon Gitchoff
Moonstone Theatre Company

What happens when a long-married couple suddenly declare that they’re planning to divorce? That’s essentially the premise of Moonstone Theatre Company’s latest production, Bess Wohl’s Grand Horizons, directed by Sharon Hunter. This well-cast, characterful comedy-drama explores the effects of such an announcement on a couple’s family, as well as revealing difficult truths about their relationship with one another, and also with their adult children and how years of unspoken issues influence the lives of those around them.

The divorce announcement is not a spoiler. It’s the inciting incident of the play, with the idea introduced in the very first scene, as Bill, played by Joneal Joplin and Nancy, played by Sarah Burke, sit down to dinner what appears to be a familiar, mostly wordless ritual. Lack of communication becomes a major theme in this story, as the couple’s adult sons, Jared Joplin as Ben and Cassidy Flynn as Brian, along with Ben’s pregnant wife Jess, played by Bridgette Bassa, react to the news in a somewhat explosive manner. Obviously, the “kids” aren’t happy, and the brothers determine to stick around until they can convince their parents to change their minds, or at least explain themselves, which they don’t seem ready to do at first, even to each other. What ensues is a series of difficult revelations and not a few surprises, some more shocking than others, as the truth of the long-standing strain in the marriage is revealed, along with its effect on their sons, including Ben’s relationship with Jess, who has her own frustrations with her husband’s apparent lack of sensitivity. Brian, meanwhile, deals with the fact that he doesn’t seem to be taken seriously by his family, and deals with commitment issues of his own while he deals with the revelations about his parents and his role as “the emotional one” compared to his more “practical” older brother.  

The play also deals with issues of aging, changing views of gender roles in marriage over the decade–especially in expectations for women–the concepts of parental influence on children, and parental roles in the lives of their children as they grow up start their own independent lives and relationships. The characterizations are strong, the story is well-structured, and the pacing is timed with precision, with just enough time given to the more important revelations, the various surprises having a suitably strong impact.

The cast here is excellent, led by long-time St. Louis actor Joneal Joplin as wannabe stand-up comedian Bill, and Burke as the initially reserved Nancy. The interplay between these two provides much of the drama, as well as a good deal of the humor, and both performers adeptly reveal layers of their characters’ personalities as needed. There are also strong performances from Jared Joplin–Joneal’s real-life son–as the more emotionally reserved, practically minded older son Ben, and Flynn as the conflicted, more expressive younger son, Brian. Bassa, as Ben’s wife Jess, a family therapist, is a strong presence as well, trying to help her husband’s family deal with their new situation while also dealing with tensions in her own marriage and expectations for the upcoming birth of her child. There’s also excellent support from Carmen Garcia as Carla, a rival for Bill’s affections, and William Humphrey in a brief but memorable scene as Tommy, a man Brian brings home for an intended romantic liaison.  The ensemble chemistry is dynamic and credible, contributing much to the overall dramatic and comedic impact of the show.

The production values are superb, with a detailed set by Dunsi Dai that believably recreates a unit in a retirement community. The costumes by Renee Garcia suit the characters well, and Michael Sullivan’s lighting contributes much to the mood of the production. There’s also impressive sound design by Amanda Werre, and effective use of music when needed, especially in the last moments of the show, in which the chosen song couldn’t be more perfectly selected.

Grand Horizons is another strong showing from the relatively new Moonstone Theatre Company. It’s an insightful, sometimes whimsical look at marriage, family, and most of all, the importance of communication and true intimacy in relationships. It’s a great turn from a stellar cast and technical crew.

Jared Joplin, Bridgette Bassa, Sarah Burke, Casssidy Flynn, Joneal Joplin
Photo by Jon Gitchoff
Moonstone Theatre Company

Moonstone Theatre Company is presenting Grand Horizons at the Kirkwood Performing Arts Center until April 2, 2023

This review was originally published at KDHX.org

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Moonstone’s Energetic, Very 1960s “Barefoot in the Park” Features Strong Cast

Posted in St Louis Theatre, tagged , , , , , on October 29, 2022| Leave a Comment »

Barefoot in the Park
by Neil Simon
Directed by Sharon Hunter
Moonstone Theatre Company
October 27, 2022

Luis Aguilar, Rhiannon Creighton
Photo by Jon Gitchoff
Moonstone Theatre Company

Barefoot in the Park is one of celebrated playwright Neil Simon’s earlier works, first having been staged on Broadway in 1963, starring a young Robert Redford, who later starred in the 1967 film adaptation opposite Jane Fonda. Moonstone Theatre Company has chosen to set their season opening production in 1966, perhaps to take advantage of the late 1960s style trends, and this production certainly achieves an eye-catching aesthetic. It also features some winning performances and well-paced direction by Sharon Hunter, highlighting the more timeless elements of the play’s appeal, although the age of this script does show through in places.

This is one of those shows that, while contemporary in its time, only works as a period piece today. The 1960s setting is one of the highlights of this production, but it also highlights the changing times, including views of marriage, relationships, and perceptions of age and gender roles. The story focuses around young newlyweds Corie (Rhiannion Creighton) and Paul (Luis Aguilar), who have just come from their honeymoon to settle into a small, fifth-floor walkup apartment in New York City. Although they are still in the flush of “young love”, these two are very different in terms of personality. Corie is impulsive, vivacious, and upbeat, always looking for a new adventure in life. Young lawyer Paul, on the other hand, is more conventional, and wary of Corie’s more outgoing, quirky ways. Still, they’re obviously in love, and excited about beginning their life together, until a series of interactions calls both to question whether or not they should even be together. This is a Neil Simon comedy, so the complications tend toward the madcap rather than the introspective, and hilarious characters and situations are the focus. First, there’s Corie’s mother, Ethel (Jilane Klaus), who personality-wise seems to have more in common with her new son-in-law than her daughter. Ethel, who voices her support for the new couple, is also obviously concerned and has the tendency to want to meddle. She’s also lonely, set in her ways, and (*gasp*) 50(!), so Corie is determined to inject some excitement into her mother’s life by introducing her to their worldly, eccentric upstairs neighbor, Victor Velasco (TJ Lancaster), who proves to be charming and affably wacky. Naturally, hijinks ensue, leading to the young couple’s questioning their own relationship and their attitudes toward one another and life in general. 

The show is certainly funny, and the characters and situations are never dull, especially with the excellent performances and brisk staging. Still, there are some creaky elements to the script that make it obvious how much society has changed in the past six decades. First, although both Corie and Paul learn about compromise in relationships, the major “weight” of the self-reflection is given to Corie, with elements of the old “change to keep your man” theme. Also, the attitudes toward aging, and  how people age 50+ (especially women) are perceived and expected to behave, is especially jarring. Still, there is a lot to like here, as well, and a lot of the themes are still as relatable today as they were 60 years ago.

For this production, the vibrancy comes from the excellent, very period-focused atmosphere as well as the wonderful cast. Dunsi Dai’s colorful, detailed set is a mid-century marvel, as are Michele Siler’s character-appropriate costumes, Michael Sullivan’s atmospheric lighting and Amanda Werre’s excellent sound design. The period-specific music played before the show and during the two intermissions also highlights the 1960s mood. 

As for that wonderful cast, everyone is strong, with a cohesive ensemble chemistry and excellent comic timing. Creighton as the energetic Corie and Aguilar as the more reserved Paul make a memorable pair, making the somewhat rocky arc of their relationship believable. Klaus is also strong as Ethel, who undergoes a believable transformation of sorts aided by the hilarious Lancaster, who gives a charming, scene-stealing performance as Victor. There are also excellent featured performances from Chuck Brinkley as a telephone repairman and Bob Harvey as a delivery guy. 

Overall, Moonstone’s Barefoot in the Park is a brightly atmospheric trip into the 1960s, and a fun look at how contrasting personalities and outlooks on life can influence relationships. It does have its share of dated elements, but this production, featuring its great cast and memorable aesthetic, is ultimately fun, funny, and heartwarming. It’s an entertaining opening for Moonstone’s new season.  

TJ Lancaster, Jilanne Klaus, Luis Aguilar, Rhiannon Creighton
Photo by Jon Gitchoff
Moonstone Theatre Company

Moonstone Theatre Company is presenting Barefoot in the Park at the Kirkwood Performing Arts Center until November 13, 2022

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NJT Brings Letters to Life with Stunningly Atmospheric “Dear Jack, Dear Louise”

Posted in St Louis Theatre, tagged , , , , , , on June 13, 2022| Leave a Comment »

Dear Jack, Dear Louise
by Ken Ludwig
Directed by Sharon Hunter
New Jewish Theatre
June 9, 2022

Molly Burris, Ryan Lawson-Maeske
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is currently serving as a time machine, or the closest we can probably get outside of science fiction. Its staging of Ken Ludwig’s love letter to his parents, Dear Jack, Dear Louise, portrays its time period and setting in a way that makes everything seem so astonishingly immediate. It’s billed as a “romantic comedy”, but there’s a lot more to it than that, and in the hands of the two wonderful leading performers, this is a tale that takes the audiences on a convincing emotional journey.

As made clear in the play’s promotional materials, and via pictures displayed in the lobby, this show is about two real people, playwright Ken Ludwig’s parents Jacob “Jack” Ludwig (Ryan Lawson-Maeske) and Louise Rabiner (Molly Burris), who “meet” via letters after being “set-up” by their parents in the early 1940s. I would say this is a two character play, but as staged here, there are basically four characters–Jack, Louise, the 1940s, and World War II. After an initially halting and brief first letter, their relationship grows and these two get to know each other more closely, even though they don’t actually meet in person for most of the play, despite several frustrated attempts, as the war (for Jack) and Louise’s burgeoning career as an actress and dancer intervene. Of course, because of the poster in the lobby and the promotions for the play, we know these two will eventually meet and marry, but Ludwig’s construction of the play, along with the performances and Sharon Hunter’s well-pitched direction make this a thoroughly engaging and even suspenseful story, as we the audience get to know these characters as they grow closer to one another through their letters, developing a friendship that leads to romantic feelings and expectations. The presentation is dynamic–rather than simply having the characters read the letters, they are structured more like dialogue, as the characters respond to one another more conversationally as the story develops. The growth of the relationship, along with various challenges–from personal issues and jealousy to the growing and increasingly threatening presence of the war–is portrayed in a fully credible and compelling way, as these well-drawn characters form a believable personal connection, engaging the audience in their hopes, dreams, and struggles.

Everything is developed in such a vivid way, with Dunsi Dai’s impressively detailed set and contributions by scenic artist Cameron Tesson and costume designer Michele Friedman Siler bring these characters and their world to life in a stunningly effective way. The 1940s vibe is enhanced by the pictures and posters that decorate the stage, featuring celebrities, plays, and movies from the era that are mentioned in the letters. There’s also an atmospheric soundtrack of 1940s pop hits to further set the mood, and excellent work from sound designer Amanda Werre, lighting designer David LaRose, and props supervisor Katie Orr in bringing this world to vivid, dramatic life. 

As well developed as Jack and Louise’s world is here, the characters themselves are also ideally portrayed in the stunningly well-matched performances of Burris as the outgoing Louise and Lawson-Maeske as the more reserved but compassionate Jack. Both are intensely likable, portraying a range of emotions as the tone shifts between light romantic comedy and more intense drama.  Their chemistry is fully believable, as well. They’re a vibrant, complex and thoroughly winning combination, making this play all the more involving as these two embody their characters so completely and credibly. 

This show is excellent in portraying a world history event (the Second World War) in a relatably human way, as well as serving as the playwright’s tribute to his own parents, on whose early relationship this show is based. Dear Jack, Dear Louise at NJT is an effective time trip as well as a riveting romantic story. It’s another excellent theatrical experience from this celebrated theatre company.

Ryan Lawson-Maeske, Molly Burris
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Dear Jack, Dear Louise at the J’s Wool Studio Theatre until June 26th, 2022

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Moonstone’s Riveting, Well-Cast “Proof” Is a Memorable, Character-Focused Drama

Posted in St Louis Theatre, tagged , , , , , on March 31, 2022| Leave a Comment »

Proof
by David Auburn
Directed by Sharon Hunter
Moonstone Theatre Company
March 26, 2022

Summer Baer, Michael James Reed
Photo by Phillip Hamer
Moonstone Theatre Company

Moonstone Theatre Company continues to impress with its second production onstage at the Kirkwood Performing Arts Center. David Auburn’s Tony and Pulitzer Prize-winning Proof is a profoundly thoughtful drama with rich characterizations and intelligent explorations of subjects from math to family relationships to struggles with mental health. It’s a challenging play to stage, and Moonstone has risen to the challenge admirably with a remarkably well-cast production.

The play tells its story with a blend of straightforward realism, flashback, and fantasy, as it explores the lives that have been affected by renowned mathematician and university professor Robert (Michael James Reed), and especially that of his younger daughter, Catherine (Summer Baer), a once-promising math student herself, who left school early to care for her father as he struggled with mental illness. In the aftermath of Robert’s death, three characters are dealing with his passing in different ways. Catherine is left struggling to cope, and also dealing with fears that she will inherit her father’s condition. Her business-minded older sister Claire (Julie Amuedo), deals with what to do with Robert’s house, and how to take care of Catherine, whom Claire views as “fragile”. There’s also Hal (Oliver Bacus), a former student of Robert’s who now teaches at the university. Hal has been looking through the many notebooks Robert left behind in case there might be some important math discovery hidden among the often incoherent scribblings Robert filled them with in his later years. As Catherine deals with memories of her father, the expectations of her sister, and her initially awkward interactions with Hal that soon reveal an obvious mutual attraction, she is forced to confront her own fears, as well as unresolved issues concerning her father’s legacy, her own future, and her mathematical gifts. 

This is a story about relationships primarily–interpersonal relationships, teacher/student, parent/child, and sibling relationships, and potential romantic relationships. It also focuses on mental health and also on individuals’ gifts, talents, and intelligence, and how they utilize them. With Catherine as the central character with the most personal issues to deal with, and Robert being a looming presence even when he’s not on stage, the other characters are developed mostly through their relationships with these two key figures. Catherine is a bundle of contradictions, and a lot of promise but also self-doubt, and she is portrayed with vivid complexity by Baer, who shines in every scene she is in, and especially in her moments with the superb Reed as Robert; and with Bacus, who gives an impressively likable performance as the initially awkward but determined Hal. Amuedo is also strong in the difficult role of the somewhat haughty Claire, who is essentially the antagonist of the piece, and her scenes with Baer are fraught with tension. It’s a strong ensemble all around, and the staging and pacing help to maintain the emotion of the story.

The action takes place at Robert’s old, deteriorating house and backyard, which are vividly realized by means of Dunsi Dai’s simply impressive set. Michele Siler’s costumes suit the characters well, and there’s also excellent lighting by Michael Sullivan that adapts well to the changing tones of the show. Along with Amanda Werre’s strong sound design, the technical aspects help to maintain the mood of the production.

There is so much going on here in terms of emotion, unfolding discoveries, and character relationships, and there are some especially intense moments, but it’s all approached deftly by the cast and director Sharon Hunter that it never seems too heavy, even though there’s a lot to think about here. It’s a profound story and a rich portrayal of well-drawn characters. The relationships between the characters and some of the more philosophical and mathematical concepts are also portrayed in a fascinating way, and I can see why this play won a Pulitzer. Proof marks another strong showing for this relatively new theatre company.

Oliver Bacus, Summer Baer
Photo by Phillip Hamer
Moonstone Theatre Company

Moonstone Theatre Company is presenting Proof at the Kirkwood Performing Arts Center until April 10th, 2022

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