Posts Tagged ‘st louis’

“Mrs. Krishnan’s Party” Is a Festive Cultural Celebration Hosted by the Rep

Posted in St Louis Theatre, World Theatre, tagged , , , , , , , on January 17, 2026| Leave a Comment »

Mrs. Krishnan’s Party
by Jacob Rajan and Justin Lewis
Directed by Justin Lewis
Indian Ink Theatre Company at Repertory Theatre of St. Louis
January 16, 2026

Kalyani Nagarajan, Justin Te Honihana Pokaihau Rogers
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is hosting a party, and it’s a lot of fun. As the latest entry is their Steve Woolf Studio series, the company is playing host to New Zealand’s Indian Ink Theatre company, who have brought their lively, colorful and energetic Mrs. Krishna’s Party to St. Louis with energy, style, and a good deal of heart. There’s also food, and if you like Indian food, this should be a treat in more ways than one. 

This is more of an immersive experience than a simple play. The audience members get to choose their seating, from “Inner Circle” to “Cheeky” to “Wallflower” depending on how much they want to be included in the action, as there’s quite a pervasive audience-participation element to the show. The guests are all seated by James (Justin Te Honihana Pokaihau Rogers) and introduced to the setting–an Indian grocery store in New Zealand, where James is hosting a party celebrating the Hindu harvest festival of Onam, as a surprise for his landlady and shop owner Mrs. Krishnan (Kalyani Nagarajan). James, dressed in an elaborate costume in keeping with the story behind Onam, is also an aspiring DJ, and shares his festive playlist with the guests. When it comes to the surprise, Mrs. Krishnan doesn’t take it well, at least initially, as she’s waiting for her son to fly in from out of town, and she also has a busy shop to run, although she’s been considering selling it so that she can move back to India. The enthusiastic and upbeat James encourages Mrs. K to get into the spirit of the party, and she gradually comes around, as the two soon start cooking a festive meal and explaining what Onam is about. As the evening plays out, we soon learn more about Mrs. K and her backstory, as well as why James lives with her, and her relationships with her son, her late husband, a mysterious “friend” who keeps calling her on the phone, and more. It’s a fun, humorous, and occasionally poignant look at life, family, loss, and perseverance, as well as a celebration of Indian culture, heritage, and food.

The leads are simply fantastic, full of energy and lively embodiment of their immensely likable characters. Nagarajan and Rogers are also especially adept at going with the “flow” of the store, as frequent audience interaction–and involving audience members directly in the story–creates many opportunities for improvisation. Both performers shine in these moments, and throughout the show, with Rogers in a vivacious, amiable turn as the young, somewhat aimless but still optimistic James, and Nagarajan in a fully-realized turn as a hardworking widowed mother with a heart for her family and tradition but who is also dealing with the effects of past tragedy and hardship. The interplay between these two characters–and between them and the audience–are a true highlight of this vibrant, fun production. They also manage to cook a (vegetarian, gluten-free) meal onstage–imbuing the air with the wonderful smells of Indian cuisine–as the story plays out.

The studio space has been adapted ideally for the party setting, which is supposed to be in the back room of Mrs. Krishnan’s shop. The industrial look and well-placed party decorations work well for creating and maintaining the DIY festive vibe, with set design by John Verryt. Jane Hakaraia’s lighting and Lia Kelly’s sound also add much to the atmosphere, and the fun touches like colorful scarves and balloons handed out to the audience add to the festive tone. There’s also excellent costume design by Fiona Nichols, reflecting the festive tone and celebration of culture, and also suiting the characters appropriately. 

Mrs. Krishna’s Party is a well-paced, especially well-cast show with energy and emotion, as well as being an effective lesson in history and culture that many in the audience might not know about. There’s also great food, handed out after the show. It’s unique experience, and the audience seemed to have a great time when I saw it. I’m still not exactly thrilled about the Rep’s hosting tours, but this one is a memorable showcase for a little-known (in the USA) Indian-focused theatre company based in New Zealand. Kudos to all involved, although knowing the next studio show is also a tour makes me hope even more that the Rep will focus more on locally-produced shows in the future. 

Justin Te Honihana Pokaihau Rogers and Audience
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is hosting Indian Ink Theatre Company’s production of Mrs. Krishnan’s Party as part of the Rep’s Steve Woolf Studio Series until February 8, 2026

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The Black Rep’s “Dance on Widow’s Row” Entertains with Dark Comedy, Strong Cast

Posted in St Louis Theatre, tagged , , , , , on January 17, 2026| Leave a Comment »

The Dance on Widow’s Row
by Samm-Art Williams
Directed by Ron Himes
The Black Rep
January 10, 2026

Velma Austin, Denise Thimes, Margery Handy, Tiffany Tenille
Photo: The Black Rep

The Black Rep is starting out the new year with dark comedy and a quartet of mysterious, scheming widows and their trepidatious suitors. Samm-Art Williams’s The Dance On Widow’s Row, directed by Ron Himes, explores relationships and aspirations with a sitcom-like flair and a memorable cast. Story and pacing-wise, it has its ups and downs, but this cast and crew make the most of the show and bring a host of larger-than-life characters and a great deal of laughter to the stage at WashU’s Edison Theatre.

The story follows four women who live on an upscale street in Port Town, NC nicknamed “Widow’s Row” by the locals because so many widowed women live there. The four featured here–led by the determined Magnolia (Denise Thimes)–have all been widowed at least once, and most more than once. Magnolia, twice widowed and looking for a new man, has invited her friends Simone (Velma Austin) and Lois (Margery Handy), and frenemy Annie (Tiffany Tenille) to a party at her home in which she has also invited some eligible local bachelors–Deacon Hudson (A.C. Smith), Newly Benson (Ron Himes, standing in for J. Samuel Davis), and Randolph Spears (Isaiah Di Lorenzo), with hopes of making romantic connections and also to dispel gossip and superstition that keeps men from wanting to date women who live on their street. All the women have their stories and secrets, with insinuations about what may or may not have happened to their late husbands, and the widows’ roles in those deaths. Also, the men have varying degrees of eagerness and/or fear in approaching the evening. The dynamics between the characters and the various clues as to underlying motives form the basis for much of the comedy.

The differing personalities also serve as a source for much of the humor, with the more sophisticated-minded Magnolia, the fame-focused actress Simone, the scheming Lois, and the initially stuffy, churchy Annie confide, clash, and conspire; while the optimistic Deacon, the nervous Newly, and the over-eager Randolph navigate their interactions with the various women. While the dialogue is sharp and well-structured, sometimes the timing seems a bit off, with beats between scenes being a bit longer than they should be, and some of the plot points can be a bit convoluted, but for the most part, it all plays out as some kind of fast-paced, ominously-toned sitcom, and all the players are on board with well-realized comic performances. 

Thimes, Austin, and Handy are an especially strong trio, as the bond between their characters is made obvious in their portrayals. They each display strong comic timing and memorable characterizations. Tenille also has some strong moments as the initially stuffy but surprising Annie, but also comes across as a bit young for the role. There are also fine performances from the men, with Smith as a suave, even-tempered Deacon–who has a strong connection with Magnolia; Di Lorenzo in a hilarious turn as Randolph; and Himes in an impressive role as a fill-in who comes across as if he were meant to play the role all along. There’s a great deal of energy and ensemble connection here, and all the performers display presence and commitment to their roles. 

The set by Tim Jones is richly appointed in keeping with the upper-class setting of the show, and the characters are all suitably outfitted by costume designer Brandin Vaughn in memorable garb that suits their personalities. There’s also fine work from lighting designer Sean Savoie and sound designer Kareem Deanes. It’s all in keeping with the general sitcom-like tone of the play.

Overall, The Dance on Widow’s Row is a lively way to continue the Black Rep’s season, and to start off the new year with a memorable, characterful vibe. It’s also a good showcase for some of the Black Rep’s “regular” performers. It’s a sharp and darkly humorous take on life, love, friendship and romantic competition. 

Denise Thimes, A.C. Smith
Photo: The Black Rep

The Black Rep is presenting The Dance on Widow’s Row at Washington University’s Edison Theatre until January 25, 2026

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Cherokee Street Theater’s “Hughes” is a Wild Nostalgic Ride

Posted in Uncategorized, tagged , , , , , , , , , , , on December 13, 2025| Leave a Comment »

John Hughes Your Own Adventure
Written by Joseph Garner, Chris “Mr.” Jones, Rob McLemore, Suki Peters, and Ben Ritchie
Directed by Suki Peters
Cherokee Street Theater Company
December 11, 2025

Cast of John Hughes Your Own Adventure
Photo by Robert Crowe
Cherokee Street Theatre Company

In the program for their rerun of Cherokee Street Theater Company’s STL Fringe Summer hit show, John Hughes Your Own Adventure, they refer to this as their “love letter to Gen X”. It’s confession time for me, then–I must not be a “typical” Gen Xer, because of all the films listed in the program as the basis for this parody, I’ve seen a grand total of two: The Breakfast Club and  (I think)  16 Candles. I guess I’m not the prime target for this nostalgia-fest, although I do have great nostalgia for the Choose Your Own Adventure books, especially The Cave of Time.  Still, even though I may not have seen all of these films, pop culture osmosis is real, and I’ve absorbed a lot of the references from my generation. My thought is that, if I think this show is a laugh riot (and I do), bigger fans of the films referenced are going to absolutely love it!  

It’s certainly a cleverly constructed show, hosted by John Hughes himself, played with a bit of self-important glibness by Joseph Garner, and the mash-up of his films with the classic “pick your path” format of the book series is remarkably clever. Mr. Hughes sets out the rules, and the story plays out–starting in detention with the five kids from The Breakfast Club–Chris “Mr.” Jones as John Bender, Patience Davis as Allison, Ryan Lawson-Maeske as Andrew, Payton Gillam as Molly Ringwald, and Ted Drury as Anthony Michael Hall. The story starts out as in that situation, but there will be points in which music starts playing and the voice of Stan Davis on the “god mic” presents choices to the audience, who decide their preference through applause. Soon, what starts out as a Breakfast Club parody morphs into a conglomeration of many of John Hughes’s greatest hits, including Ferris Bueller’s Day Off, Weird Science, Home Alone, Uncle Buck, and more. It’s a frantic, fun-filled laugh-fest with clever staging, some fun sight gags (including a character being played by a cardboard cutout), and lots of quick changes.

The staging is crisp and fast-paced, although the look and feel is a little unpolished, which adds to the humor, and the cast is excellent, with great turns from all the players, with standouts including Garner as Hughes, Lawson-Maeske as Andrew and Ferris Bueller, Nicole Angeli as a variety of characters including Edie McClurg, Annie Potts, and Catherine O’Hara, Ben Ritchie as Vernon and others, Brennan Eller as Duckie and Joe Pesci, Rob McLemore as John Candy, and Soupy Allen David as Kevin McCallister. Everyone seems to be having a great time, and the pop culture references, including music from the times, and mentions of other films, are flying fast and furious. It’s a great ensemble all around, and the audience was having a great time when I saw it.

The costumes by Kayla Lindsey are a lot of fun, as well, with great work on sound by Jeffrey Roberts and sound by Bradley Rohlf, as well. The props are also a delight–with kudos to properties mistress Payton Gillam and properties team Stan Davis, Patience Davis, Soupy Allen David, and Abby Lampe. 

Whether you have seen all of these films or not, there’s a lot to laugh about in this raucous comic send-up of all things John Hughes. There are two more chances to see it, so if you’re looking for a 1980’s nostalgia fest and a good laugh, I recommend checking this out.

Cherokee Street Theater Company, in partnership with STL Fringe, is presenting John Hughes Your Own Adventure at the Kranzberg Arts Center until December 14, 2025

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Well-Cast “Legally Blonde” Entertains With Energy and Heart at Tesseract

Posted in Uncategorized, tagged , , , , , , , , , on December 13, 2025| Leave a Comment »

Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Directed by Will Bonfiglio
Choreographed by Jo Palisoc
Tesseract Theatre Company
December 7, 2025

Jonathan Hey, Grace Seidel and Cast
Photo: Tesseract Theatre Company

It seems like Legally Blonde: The Musical has only increased in popularity since its Broadway debut in 2007, having been staged all over the world and now becoming popular in regional and community theatres. I’ve seen it twice at the Muny, in large, glitzy productions, and it is generally thought of as a big, glitzy show. Now, Tesseract is staging a scaled-down production that might have a smaller cast than most productions, but is still big in energy and heart, and even bringing out a bit more substance to the show than I’ve seen before.  Featuring a great cast and clever, efficient staging, this is a show that’s as fun as ever, but perhaps even more meaningful.

The story has become a familiar one–Malibu-raised UCLA fashion student Elle Woods (Grace Seidel) has enjoyed her undergrad years of sorority parties, popularity, and spending time with her upwardly mobile fiancé Warner (Mason Ramsey), fully expecting a proposal. Warner, however, informs her that she’s not “serious” enough to fit into his goals, as he plans to attend Harvard Law School and embark on a career in law and politics. Elle, determined to prove Warner wrong and win him back, applies to Harvard and is accepted, whereupon she soon learns that achieving her goal is going to be a lot harder than she thought. At Harvard, Elle meets Emmett (Kevin Corpuz), her law school mentor, and the two soon form a friendship as Emmett helps Elle adjust to law school and perhaps set her goals higher than “getting the guy back”, while Elle helps Emmett to loosen up and find more fun and style in life. She also makes friends with unlucky-in-love  hairdresser Paulette (Marsiya Miller), helping her learn to be more assertive, while navigating the cutthroat law school atmosphere led by ruthless Professor Callahan (Jonathan Hey), whose law firm offers a prestigious internship for which the students all vie. Soon, they’re enlisted to help in the defense of famous fitness guru Brooke Wyndham (Dawn Schmid), and Elle finds her goals and values tested more than ever. 

It’s a fun show, and not the deepest in terms of themes and message, although this production finds more substance in the material than I’ve seen before. Much of the credit for this meaningful interpretation goes to the cast and director Will Bonfiglio for thoughtful staging and heartfelt performances. There are still the fun production numbers, the memorable characters, and lots of pink, but the characters seem a little deeper in this version, and while still larger-than-life, they’re not quite as over-the-top as in other versions I’ve seen.  The reduced cast size with ensemble members playing various characters as needed also contributes to this approach.

Corpuz’s smoother, almost conversational vocals, and Seidel’s earnest persistence even amid her perky style and fantastic vocals, are among the highlights of this production, and the two have believable chemistry. There’s also a scene-stealing performance from Miller, who exudes likable stage presence as Paulette. There’s also an especially energetic turn from Schmid as Brooke, leading the high-octane “Whipped Into Shape” number with athletic gusto. Other standouts include Natalie Sannes, Lillie Self-Miller, and Evan Lee as Elle’s sorority sisters-turned Greek chorus Serena, Margot, and Pilar. There’s also a fun performance from Katie Orr as Elle’s Harvard classmate Enid, and fine turns from Ramsey as the image-conscious Warner and Aditi Seetharaman as Warner’s new “serious” girlfriend Vivienne. Hey makes a suitable, oily adversary as Callahan, as well, and there’s an excellent ensemble including Ella Drake, Martin Ibarra, Molly Stout, Kyle Rudolph, Loren Goudreau, and Aadi Kadam, all playing a variety of roles as needed.

The physical production is simplified from the usual, but especially efficient in that the black box space at the Marcelle is divided into areas with much of the set decoration along the walls. The set, designed by Brittanie Gunn, consists of the decorated walls and two raised platforms along with a few furniture pieces as needed. This economic approach adds a dynamic element as the pieces are moved around to fit the story, contributing to the overall energy of the show. Carly Uding’s costumes are fantastic, from the pink tones and bright colors of Elle and her UCLA friends to the more subdued Ivy League attire of Harvard, and Sarah Gene Dowling’s wigs also contribute to the overall look and tone with style.  There’s also excellent lighting by Morgan Brennan and sound by Jacob Baxley, as well as a great band led by music director Larry D. Pry, who perform live in a different room, helping the music to not overwhelm the vocals, as can happen so often in this space. 

Overall, this Legally Blonde is as energetic and fun as ever, but it brings even more in terms of substance and heart. It’s another example of Tesseract’s thoughtful approach to staging that’s been apparent in so many of their productions. In the words of one of the show’s most prominent songs, this production is “so much better than before”.

Kevin Corpuz and Cast
Photo: Tesseract Theatre Company

Tesseract Theatre Company is presenting Legally Blonde: The Musical at the Marcelle Theatre until December 21, 2025

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Bread And Wine’s “Christmas Short Play Festival” Brings Festive Spirit in an Inventive Setting

Posted in Uncategorized, tagged , , , , , , , , , , , , , , , , , on December 13, 2025| Leave a Comment »

A Christmas Short Play Festival
Bread and Wine Theatre Company
December 6, 2025

Bo Hanley, Peter D’Alessio
Haley Clegg, Laura Kyro
Photo by Roger Ottwell
Bread and Wine Theatre Company

Bread and Wine Theatre Company is a newer face on the St. Louis theatre scene, expressing a mission to “create innovative productions that highlight the beauty of a virtuous life”, according to CEO Owen Brown, who also directs one of the plays in their inaugural Christmas Short Play Festival. Held in a somewhat unusual venue, the Historic Sappington House, the festival features five plays and a cast of local performers. It’s an intriguing way to get to “know” a new theatre company while also exploring themes of love, loss, compassion, family–both biological and found, and the passage of time. 

The first and longest play of the evening is by celebrated playwright Thornton Wilder. “The Long Christmas Dinner”, directed by Brown, shows a family holiday gathering over the course of 90 years, starting in the 1840s and ending around 1930. The conceit is that it plays out showing the passage of time as one continuous gathering, starting early in the marriage of Roderick I (Adam Usry) and Lucia I (Haley Clegg), as they share a holiday meal with his mother, Mother Bayard (Bo Hanley). Over the course of the story, the conversation never stops, but characters grow old, get up and leave through a black curtain (apparently symbolizing death), as new characters enter, the family increases and decreases, and characters reflect on changing times and relationships. Much of the story focuses on Lucia and Roderick’s children, since from childhood to older age and played by Pietro D’Alessio as Charles and Laura Kyro as Genevieve, who join their parents and aging Cousin Brandon (Nicholas Urbanowicz), and are later joined by Charles’s wife Leonora (Tara Laurel) and their children Sam (Usry), Lucia II (Clegg), and Roderick II (Urbanowicz); and Cousin Ermengarde (Hanley). Abbey Robinson also appears as a nurse working for the family.  This is a fascinating play with a strong through-line of change and the passage of time. The performances are enthusiastic, with Kyro standing out for a believable portrayal of Genevieve’s growth from childhood to adulthood. The setting in the library building at Sappington House works especially well to set the mood and tone of this production.

The rest of the plays range from the very short to about 20 minutes in length, ending with a poignant if slightly over-the-top production of Dan Neidermyer’s adaptation of O. Henry’s classic “The Gift of the Magi”, directed by Travis Pfeifer. Michael Cox and Livy Potthoff are endearing as newlyweds Jim and Della, who struggle to find gifts for each other as they prepare to celebrate their first Christmas as a married couple. Bruce Jehling also appears in two roles, as Jim’s boss and as a shopkeeper.

The festival also features Cox in the title role of “Bosco’s Xmas” by Carol W. Berman, also directed by Pfeifer. This is a very short sketch about a cat, memorably played in a physically animated performance by Cox, who is seeking “revenge” by attacking his family’s Christmas tree. 

The remaining two plays are directed by Chandler Spradling. “The Last Mall Santa” by Michael Cox features Jodan Matt-Zeitler as Pete, a melancholy mall Santa who is reflecting on his time in this role, as his mall is undergoing difficult times and is about to close. The staging is clever here, as we see Pete interact with various toys that slide in from offstage, “playing” the roles of children who visit Santa. Pete grows sadder and more discouraged until his final visitor appears, this time played by a real child and aptly named Hope (Riley Shelembauer). It’s a poignant look at changing times and seasons, and the importance of hope.

“Baked Alaska” by Kelli Lynn Woodend features a group of guys from a rehab facility–Jeb (John Emery), Vigil (Connor Malone), and Clementine (Matt-Zeitler) being taken on a shopping trip by Freida (Hannah Lindsey) to buy Christmas gifts for their kids. It’s a little rough around the edges, but the message of kindness in hard times comes through clearly, making for a memorable sentiment. 

The location and seating arrangement adds much in the way of intimacy to the proceedings here, and although some of the performances are uneven, the Christmas spirit–in various forms–is palpable. It’s an intriguing look at a new theatre company with potential. I’m curious to see what else they bring in the future. 

Bread and Wine Theatre Company is presenting A Christmas Short Play Festival at the Historic Sappington House until December 13, 2025

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Audience Howls With Laughter at NJT’s Cleverly Staged “Baskerville”

Posted in St Louis Theatre, tagged , , , , , , , , on November 28, 2025| Leave a Comment »

Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery
by Ken Ludwig
Directed by Nisi Sturgis
The New Jewish Theatre
November 20, 2025

Nick Freed, Bryce A. Miller, John Wilson, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

It may be based on an iconic mystery series and its characters, but there’s no mystery about the appeal of Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery, as staged at The New Jewish Theatre under the direction of Nisi Sturgis. With clever staging, a sharp script, brisk pacing, and an excellent, enthusiastic cast, this tale of intrigue and mystery on the moors of Victorian England has its audience howling with laughter. The appeal is enhanced by great production values, and some fun audience participation gags. 

The story is framed in a similar way to the popular comedic staging of Patrick Barlow’s adaptation of  John Buchan’s The 39 Steps, but based on the even more well-known stories of celebrated detective character Sherlock Holmes (Nick Freed) and his intrepid assistant, Dr. Watson (Bryce A. Miller).  This one is based on the classic story The Hound of the Baskervilles, in which the two are enlisted to help on case involving a murder on the moors bordering a country estate, as the proprietor has been killed in a manner that mirrors an old legend in the Baskerville family, involving a giant, ferocious dog. Watson narrates the story, and takes the principal role, although Holmes still figures prominently, and three performers billed as Actor One (Sean C. Seifert), Actor Two (John Wilson), and Actress One (Alicia Revé Like) each play a variety of roles as the story takes the crime-solving duo from the streets of London to the Devonshire countryside on a caper that involves old legends, romance, sinister plots, murder, and all kinds of intrigue.

Like The 39 Steps, this story has been framed as a comedy, with much of the humor coming from the multi-casting elements and quick pacing, along with a clever script that covers all the familiar beats of a Holmes story but streamlines it to emphasize comic elements and provide many elements to showcase the versatility of the performers.  It’s a fun show, and I’ve seen an excellent production in St. Louis before, a few years ago. At NJT, what stands out this time is the audience participation element, as well as several self-referential and “breaking the Fourth Wall” moments that add much hilarity to the proceedings. The cast members are kept on their toes by the pacing, and they handle the workout with much energy and quick thinking, resulting in a  hilarious evening of suspense and riotous laughter, with a haunting gothic-styled backdrop of dramatic music and excellent production values. 

The creepy, haunting, suspenseful tone of the proceedings are greatly enhanced by means of a marvelously versatile and deceptively simple set by Reiko Huffman that consists of quick-change set pieces and various movable elements on wheels, all painted and styled in suitable Victorian fashion. And speaking of fashion, Michele Friedman Siler’s costumes do a great job of outfitting the characters, working well with fast character changes, and maintaining the 19th Century mood and style. There’s also strong work from lighting designer Katherine Stepanek, keeping the tone dark and haunting while making everything clearly visible to the audience and in keeping with the heightened comic tone.  There’s also a memorable soundtrack and music designed and composed by Victoria Deiorio, recreated with flair for this production by Ethan Foss.

The cast that has been assembled here is nothing short of fantastic, led by Miller in a charming turn as the determined and often bewildered Watson, who is essentially the heart of this story. Freed is also effective and thoroughly credible as the mysterious but almost infuriatingly competent Holmes, and this duo’s interactions form much the humor here, although the three support players carry much of that weight as well. Miller also has easy rapport with Wilson’s most prominent character, the amiable Texan heir to the estate, Sir Henry Baskerville, who also has excellent moments with Like as the conflicted Beryl, with whom Sir Henry becomes smitten. Wilson also excels in his other roles, such as the grumpy Detective Lestrade, and Siefert and Like each play a variety of characters with enthusiasm and distinction, with Siefert as the mysterious Jack Stapleton and supportive Dr. Mortimer, and Like memorable as the sympathetic Beryl and persistent young Cartwright, who helps Holmes on the case in London. There’s so much energy in this show, and the rapport the performers have with one another and with the audience contributes to the overall enjoyment here, with a few wardrobe mishaps being covered well and adding to the humor to the point in which it’s not entirely clear if they really were mishaps or if they were planned. The building suspense and overall gothic tone is well-maintained by the cast as well, providing much in entertainment value.

“Entertaining” is a great word for the overall experience here. That, and “fun”, for the audience and apparently for the cast as well. I also appreciate the staging with the audience divided and the performance area in the middle, which is a format this company has used before to excellent effect. For Sherlock Holmes fans, I think this show would be especially appealing, although there’s enough broad appeal for anyone. It’s a good way for NJT to end their season with a flourish, and a roar of laughter from their audience. 

Sean C. Seifert, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery at the J’s Wool Studio Theatre until December 7, 2025

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Well-Cast “Bat Boy” Makes a Strong Impression at New Line

Posted in St Louis Theatre, tagged , , , , , , , , , on October 8, 2025| Leave a Comment »

Bat Boy
Story and Book by Keythe Farley & Brian Flemming
Music & Lyrics by Laurence O’Keefe
Directed by Scott Miller and Chris Moore
New Line Theatre
October 3, 2025

Brittany Kohl, Rafael DaCosta, Marlee Wenski
Photo by Chris Moore
New Line Theatre

It’s the time of year again, when many theatre companies turn toward weirder and/or spookier subject matter in the lead-up to Halloween. In that vein, New Line has chosen to revisit a show they’ve done before, the tabloid-inspired sci-fi/horror dark comedy Bat Boy, which provides a good opportunity for its cast and crew to ham up a storm while also conveying a warning message about jumping to judgment and blame of “outsiders” for the world’s problems. Under the direction of Scott Miller and Chris Moore, New Line has put a lot of energy into this production, which features striking production elements and a strong, enthusiastic cast of local performers.

I didn’t see the last New Line production of this show, but I’ve seen a production by another local company, so I was familiar with the plot and tone of the piece. The story, inspired by a fictional tabloid story featured in the infamous Weekly World News, focuses on a mysterious “Bat Boy” (Rafael DaCosta), who is encountered by three young siblings–Rick (Zachary Thompson), Ruthie (Chelsie Johnston), and Ron (Bee Mecey)– who are exploring a cave. When the Bat Boy bites Ruthie, the kids are frightened and call in the police, who seek to consult local veterinarian Dr. Thomas Parker (Ian McCreary) about what to do. The Bat Boy is then taken to Thomas’s house, where his wife Meredith (Brittany Kohl) and daughter Shelley (Marlee Wenski) meet the boy first, and while Shelley is creeped out at first, Meredith is more sympathetic, naming him “Edgar” and promising to take care of him and teach him manners. As the townspeople remain suspicious of Edgar, whom they regard as a “monster”, he soon reveals himself to be a quick learner and a sensitive soul under the tutelage of Shelley and Meredith It soon becomes clear, however that Thomas isn’t happy with the attentions Meredith is paying to the boy, and while Edgar seeks to win the town over with his personality, and he and Shelley grow ever closer, long-held secrets are about to be revealed, threatening the hopes, assumptions, and even the lives of the town, the family, and Edgar himself.

The whole tone is heightened and exaggerated, as is fitting for a story based on an over-the-top tabloid. It also calls to mind some of those old “B” grade sci-fi and horror films from the 50s and 60s, and the physical production at New Line helps that vibe along by means of Becca Rose Bessette’s well-crafted costumes, and the alternately humorous and haunting score ably played by a small but excellent band led by music director Jason Eschofen. There’s also a fairly minimalist but practical framework set by Rob Lippert that provides an ideal base for the action, aided by strong work from lighting designer Bradley Rohlf, and sound designer Ryan Day. 

Casting is key in this show, with the role of Edgar the Bat Boy being especially demanding physically, emotionally, and vocally. DaCosta is excellent in the role, with energy and stage presence at the forefront, creating a character who is at once sympathetic and awkwardly charming. His scenes with Kohl’s also strong Meredith and Wenski’s plucky Shelley are especially compelling. There’s also a fine turn from McCreary as Thomas, and a strong ensemble who mostly play various characters–Stephen Thompson, Mecey, Zack Huels, Ronmal Mottley, Zachary Thompson, and Johnston, with Huels a particular standout vocally in the “Children, Children” number in the second act. The overall darkly comic energy is handled with entertaining enthusiasm.

This is a show that has a lot of laughs and a few cringey horror moments, but also a palpable message warning against the dangers of judging people based on appearance and preconceived notions. It’s alternately creepy, haunting, offbeat, and deliberately sensationalist, with some crass humor and suggestive themes. Bat Boy strikes just the right tone for this time of year, and it’s a good start to a new season for New Line.

Cast of Bat Boy
Photo by Chris Moore
New Line Theatre

New Line Theatre is presenting Bat Boy at the Marcelle Theatre until October 25, 2025keth

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Eclectic “Dollhouse” Challenges and Entertains at ERA

Posted in St Louis Theatre, tagged , , , , , , , , , on August 5, 2025| Leave a Comment »

Dollhouse by Three Manufactures
Adapted from A Doll’s House by Henrik Ibssen
Directed by Miranda Jagels Félix, Spencer Lawton, and Jimmy Bernatowicz
Equally Represented Arts
July 31, 2025

Frankie Ferrari, Hailey Medrano
Photo: ERA

 

ERA is at it again. This wildly inventive theatre company is re-examining a classic work as usual, with their characteristic experimental lens. This time, they’re doing something new, even for them. With Dollhouse by Three Manufacturers, the challenge is to present a coherent adaptation of Henrik Ibsen’s A Doll’s House with each act directed by a different person, with notably contrasting approaches. Although there are a few issues with coherency in moments, for the most part I would say that this experiment is a bold, provocative success. 

I will say that this is one of those shows that works best when the audience is somewhat educated about the source material. If you’re never seen A Doll’s House, it would be useful to find a synopsis online and familiarize yourself with the basic plot, because that will make the madcap, high-energy tone of (especially) Act 1–directed by Miranda Jagels Félix–easier to follow. The story of the pampered housewife Nora Helmer (Hailey Medrano) and her doting but oddly paternal husband, Torvald (Frankie Ferrari) is at first framed as something of a fever dream, introduced by a lounge-singer type “Mistress of Ceremonies” (Molly Wennstrom) who sings classic pop and jazz standards before the story begins that work to call attention to the subject matter of the show and add a satirical air, like “My Heart Belongs to Daddy” and others. The characterizations are played as fairly over-the-top, as the central dilemma is introduced–bank manager Torvald is about to fire longtime employee Nils Krogstad (Andrew Bayer), but Krogstad has a secret he shares with Nora involving how she was able to help Torvald during a health crisis, and he Krogstad threatens to expose Nora if she doesn’t help him. Meanwhile, Nora’s old school friend Christine (Victoria Thomas) shows up also looking for a job after being widowed, and Nora struggles with the expectations of what it means to be a wife and mother in a society in which men have all the power. This is a stylized act, where much of what Torvald says is recited by the entire cast together (minus Nora), and much of the staging is symbolic and briskly paced. It’s something of a farce, but with a highly satirical edge. There are laughs, but some of the dialogue can be hard to follow at times, especially during the group recitations.

Act 1, which is somewhat frantic, eventually gives way to Act 2, directed by Spencer Lawton, which slows down to a calmer, more somber pace, for the most part. The characters are played much closer to the “traditional” tone of A Doll’s House, making the story and the emotional weight of the proceedings a bit easier to understand. The cast keeps up the pace and transition well here, and the tone shift works especially well considering that it serves as something of a “rest” between the much more stylized first and third acts while also communicating the story and themes with clarity and emotion.

And then comes Act 3, directed by Jimmy Bernatowicz, which is the most obviously polished and precisely choreographed of the thee parts, in which the story suddenly becomes a fully realized 1950s live sitcom, complete with actual cameras as the story is filmed and projected onto the curtain at The Chapel as the story plays out. The characterizations are a bit broader again, and the sitcom format brings a good deal of laughter, as does the inclusion of live commercials integrated into the plot, as old TV and radio shows often used to do. What’s especially brilliant here is how the commercial narratives are blended with the themes of Nora’s story, particularly toward the conclusion as the commercials come to be about dolls, emphasizing the doll-like existence Nora has endured, and her increasing desire to break out of that. It’s an impeccably staged act, featuring  well-integrated live music (particularly the Buddy Holly classic “True Love Ways”), marvelous special effects, and top-notch performances by the cast. 

As for the cast, everyone is excellent and on-point, adjusting their performances to the tone of the different acts, but also keeping their characters recognizable throughout. Medrano is at turns hilarious, heartbreaking, timid, and bold as Nora, and Ferrari’s Torvald is suitably paternal and frustratingly upbeat until the devastating conclusion. There are also impressive portrayals by Bayer as the insistent Krogstad, Thomas as the somewhat enigmatic Christine, Ross Rubright as the gentle and ailing Dr. Rank, and Morgan Schindler as the family’s nanny/maid Ann-Marie, who is essentially a blend of two characters in the original play. Wennstrom makes for a memorable Mistress of Ceremonies, as well, and all of the players work well with the shifts in tone between the acts, keeping up the energy of the story as the styles change throughout.

The technical qualities of this show are also excellent and memorable, with a strong sense of “dollhouse” theming and and a versatile set by Lucy Cashion and Bernatowicz. There are also fantastic costumes by Meredith LaBounty, dazzling lighting by Jayson Lawshee, and terrific video and A/V work by Joe Taylor, especially in Act 3. 

This is unmistakably an ERA show, with emphasis on satire and critical examination of its source material–here featuring a critique of patriarchy and roles of men and women in society. It’s a new approach from a company that keeps coming up with fascinating new approaches. It may not appeal to all tastes, but I find it fascinating and especially entertaining. It’s worth a look especially if you love experimental theatre. 

Morgan Schindler, Molly Wennstrom, Andrew Bayer
Photo: ERA

Equally Represented Arts is presenting Dollhouse by Three Manufacturers at The Chapel until August 9, 2025

 

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“Austen’s Pride” is An Entertaining, Promising Look at a Famous Author and Story

Posted in St Louis Theatre, tagged , , , , , , , , , on August 5, 2025| Leave a Comment »

Austen’s Pride: A New Musical of Pride and Prejudice
Book, Music, and Lyrics by Lindsay Warren Baker and Amanda Jacobs
Directed by Igor Goldin
Choreographed by Lisa Shriver
STAGES St. Louis
July 30, 2025

Dan Hoy, Olivia Hernandez, Delphi Borich
Photo by Phillip Hamer
STAGES St. Louis

The latest offering from STAGES St. Louis is a pre-Broadway showcase performance, the second they’ve done after The Karate Kid three years ago, and at least for me, this effort is even more promising than the last one. I’m admittedly a big Jane Austen fan, having read her novels and seen many of the film, television, and stage adaptations. This latest new musical, though, is more than just an adaptation. Austen’s Pride: A New Musical of Pride and Prejudice, is about Austen herself as much as it is about her most well-known novel. And while there are some aspects that could use a little bit of work, for the most part it’s an intriguing, entertaining showcase for a great cast and excellent melodic score. 

With book, music, and lyrics by Lindsay Warren Baker and Amanda Jacobs, Austen’s Pride starts out on a mostly dark stage, with Jane Austen (Olivia Hernandez) trying to figure out what to write next after the success of her novel Sense and Sensibility. Her devoted sister Cassandra (Dianica Phelan) suggests Jane revisit an old draft of hers, a novel called First Impressions, but Austen isn’t sure she wants to write another love story. Then she starts reading through the story and the characters appear, with Austen making changes as it goes along and reflecting on incidents from her own life which influence the story in various ways. She also interacts directly with the characters at times, especially heroine Elizabeth Bennet (Delphi Borich), as Elizabeth’s story becomes influenced by Austen’s own experiences, and Austen herself becomes affected by the story that seems to have a life of its own.

The Pride and Prejudice story is familiar to many, and all the well-known characters are here, from the lead character Elizabeth to her suitor Mr. Darcy (Dan Hoy), and her whole family, including parents Mr. Bennet (Kevyn Morrow) and Mrs. Bennet (Sally Wilfert), and sisters Jane (Addie Morales), Mary (Sarah Ellis), Kitty (Cali Noack), and Lydia (Kate Fahey). We also meet the various suitors, including the kindly, effusive Mr. Bingley (Cole Thompson), the oafish Mr. Collins (Paul Castree), and the charming but rakish Mr. Wickham (Michael Burrell). Several of the cast members also play other characters as needed, with notable examples being that Wickham’s actor also plays Austen’s former suitor Tom Lefroy, and Mrs. Bennet’s performer also plays the imperious Lady Catherine DeBourgh.

Of course there’s a lot of condensing here, and the blending of Austen’s personal life with the story is easier to follow if you know more about the author’s history. Also, some of the character cuts affect the tone of the story in ways I’m not sure work as well as they should–especially in terms of Lady Catherine, who comes across as even more unreasonable than in the book, since all reference to her daughter Anne has been removed (without even one mention), which makes Lady Catherine’s objections to Darcy’s interest in Elizabeth even more ridiculous than they are in the novel. Also, some characters seem like the writers didn’t always know what to do with them, like Cassandra, who has some excellent moments but also disappears for long stretches to the point where it’s easy to forget she was there in the first place. There’s also little suspense in whether the story will actually be finished, because we know that it was in “real life”, and some of the efforts to add conflict come across as clumsy (especially at the end of Act 1). 

Still, those are issues that can be worked on, and for the most part, Austen’s Pride is an intriguing, thoroughly entertaining show, with a broadly witty sense of humor and a believable connection between Austen and her story, as well as an excellent treatment of the growing relationship between Elizabeth and Darcy. The casting is first-rate, as well, with Hernandez showing excellent presence as Austen, with a bit of a Mary Poppins vibe and marvelous vocals. Borich is also fantastic as Elizabeth, working especially well with Hernandez’s Austen and Hoy’s note-and-book perfect Mr. Darcy. The rest of the cast is also strong, with Phelan making the most of the underwritten role of Cassandra, Morrow and Wilfert memorable as Mr. and Mrs. Bennet, and all the Bennet sisters being especially well-cast. Special note goes to Ellis, who makes the most of three roles–the stuffy, socially awkward Mary Bennet, the priggish Caroline Bingley, and Elizabeth’s kindly aunt Mrs. Gardiner. Cole Thompson as Mr. Bingley, Castree as both Mr. Collins and Mr. Gardiner, and Burrell as Wickham and Tom Lefroy all give strong turns as well. It’s a strong ensemble all around, with a good deal of energy and enthusiasm in the production numbers and dances choreographed by Lisa Shriver with a fun blend of Regency styles and modern Broadway flair. 

The set and technical aspects of the show are deceptively simple, with little in the way of actual set pieces and a lot being done with lighting and projections. Josh Zangen’s set is notable for its economy, with a few furniture pieces that move on and off as needed, and excellent projected backdrops. Jason Lyons’s lighting adds much to the atmosphere and whimsical quality of much of the story, and Phillip Peglow’s sound is crisp and clear. There’s also excellent work from Emily Rebholz on the marvelously detailed costumes, and by Tommy Kurzman on wig and hair design. The orchestra, led by music director Sheela Ramesh, is in fine form, as well, lending a lush sound to the sweeping new score by Baker and Jacobs. 

Ultimately, there’s much to love about Austen’s Pride, even if aspects of it could stand some revision. Especially for Jane Austen fans, this is a fun, fascinating story. It also works as a great showcase for it’s talented cast, and especially its leads, Hernandez and Borach. It’s a promising show given a memorable staging at STAGES St. Louis.

Cast of Austen’s Pride
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Austen’s Pride at the Kirkwood Performing Arts Center until August 24, 2025

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“Disney’s Frozen” at the Muny Makes for a Winter Wonderland in a STL Summer

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 8, 2025| Leave a Comment »

Disney’s Frozen
Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Book by Jennifer Lee
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 7, 2025

Bobby Conte, Patti Murin, Hannah Corneau
Photo by Emily Santel
The Muny

Frozen is a phenomenon that has turned into a franchise, but it started out as a single animated film in 2013. It has since spawned sequels and a successful Broadway musical that has been produced and toured in various countries around the world.  The Muny is now presenting its first production of the show, and it’s somewhat ironic that it’s  being staged in the middle of a particularly hot St. Louis summer, considering the story features a song about summer sung by a snowman, comically emphasizing the fact that snow and summer heat don’t usually mix. At the Muny, however, these elements prove to be a successful combination, providing an entertaining respite from the heat as well as a dazzling spectacle that makes the most of a somewhat minimalist set and at least one truly jaw-dropping special effect. Add that to a terrific cast and energetic staging, and it becomes a successful recipe for wintry wonder in Forest Park. 

The story will be familiar to many, considering how ubiquitous the franchise has become, as reflected by the many families with small children in Frozen-inspired outfits in the audience at the Muny. It’s a popular story of magic, mystery, secrets hidden and revealed, sisterhood, family, and love in various forms. It also challenges a few familiar “fairy tale” tropes and features a score of memorable songs including the iconic, Oscar-Winning “Let It Go”. The main focus is on the sisters Anna (Patti Murin) and Elsa (Hannah Corneau), who are close as children, but are driven apart as a result of an incident that causes Elsa and her parents (Ann Sanders as Queen Iduna, Jonah D. Winston as King Agnarr) to conceal her magic ice powers from Anna and the rest of the world, and further events cause Elsa to become even more reclusive and fearful.  

Years later, when the sisters are young adults and Elsa is about to be crowned Queen, the gates are opened in both the literal and figurative sense, as Anna becomes enamored with the outside world and with Prince Hans (Bobby Conte), who she just met. Meanwhile, Elsa still struggles to control her powers, which unleashes a sudden winter on the Kingdom of Arendelle and a self-imposed exile for Elsa. As Hans is left in charge of the Kingdom, Anna heads out to find Elsa, with the help of ice-merchant Kristoff (Jelani Remy) and his reindeer, Sven (Andrew A. Cano). They are soon joined by Olaf the snowman (Kennedy Kanagawa), as they race to find Elsa before the townspeople–who are quickly beginning to view Elsa as a monster–get there first. 

It’s a well-done show, for the most part, with a few new songs added to the film score, as well as an expanded story that seems a bit choppy at times, but comes together well in the end. The showcase number “Let It Go” isn’t given quite the setup it needs, but the excellent Corneau as Elsa delivers it with energy and vocal power, and the technical effects are truly stunning, including the most spectacular quick costume change I have ever seen onstage. Even though the set by Tijana Bjelajac is fairly minimal compared to the touring production I saw at the Fox a while back, it works well for the Muny’s stage and in conjunction with some truly spectacular video projections by Kylee Loera, as well as dazzling lighting by Jason Lyons (including lasers), and excellent sound design by John Shivers and David Patridge. The costumes by Robin L. McGee are colorful and eye-catching as well, and the puppet design by Eric Wright and Puppet Kitchen is memorably fantastic, aided by the strong and especially memorable performances of Kanagawa as  Olaf and Cano (accompanied by another performer in the costume) as Sven. There’s also a great Muny Orchestra led by music director Darryl Archibald that brings out all the style and emotion of the memorable score.

The cast is fantastic, including strong performances from Isla Turner and Maliah Strawbridge as Young Anna and Elsa, respectively, who figure into the story quite a bit. Their adult counterparts are also excellent, with the aforementioned Corneau bringing out the right level of emotion and reserve as Elsa, and original Broadway Anna Patti Murin bringing a bouncy, likable energy to the role. Both performers portray a believable sisterly bond, as well, and the chemistry between Murin and both of and her leading men–the awkwardly charismatic Conte as the initially likable but mysterious Hans, and the stubborn-but-charming Remy as Kristoff–is strong and believable. There are also memorable turns from Jared Gertner as the snooty, skeptical Duke of Weselton; Mark Saunders as the enthusiastic trader Oaken, who leads the hilarious Act 2 opening production number “Hygge”; and Chris Stevens and Cecilia Snow as Pabbie and Bulda of the “Hidden Folk”, who figure in the story in various ways. There’s a strong, energetic ensemble as well, including the Muny Teen and Youth Ensemble, plays various roles and adding much enthusiasm to Patrick O’Neill’ clever and vigorous choreography.

Ultimately, Disney’s Frozen works especially well as the Muny’s “family show” for 2025. Although the show itself isn’t quite as tightly plotted as the film, it’s an entertaining spectacle in its own right, and it looks great on that big Muny stage. It’s also a fun wintry change of pace in the midst of another sweltering St. Louis summer. 

Jelani Remy (Center) and Cast
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Frozen in Forest Park until July 14, 2025

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