Posts Tagged ‘st. louis’

Creatively Staged “Fiddler” from FNT Has a Small Cast and a Big Heart

Posted in St Louis Theatre, tagged , , , , , , , , on April 29, 2026| Leave a Comment »

Fiddler on the Roof
Music by Jerry Bock, Lyrics by Sheldon Harnick, Book by Joseph Stein
Directed and Choreographed by Caleb D. Long
Original Broadway Choreography by Jerome Robbins
Fly North Theatricals
April 24, 2026

Ryan Cooper
Photo by Katie Orr
Fly North Theatricals

Fiddler on the Roof is a musical theatre classic–there’s no question about that. Still, it’s been performed so many times and by so many different companies, that it’s fairly easy to think about as “been there, seen that”. It takes a great cast and lots of creative energy to do justice to this show’s message and timeless characters and songs, as well as standing out a bit from all the other productions of the show a given audience member may have seen (I have seen at least 10, including the 1971 film). The cast size and production values can also be a challenge to smaller companies, although Fly North Theatricals has met that challenge with enthusiasm, style, and lots of heart with their latest production at Greenfinch Theater & Dive. 

I’ve seen “scaled down” productions of usually larger-cast shows in the past that have worked, including The Music Man and Something Rotten, and what those productions have taught me is that, when done well, scaling down can often highlight or emphasize themes and messages in the show that have always been there, but are brought into more crystalized focus through the staging and characterization. That is certainly the case with this production, which is led by Ryan Cooper in a fantastically likable and energetic performance as Tevye, the Jewish milkman who narrates the story while also being its main focus. Tevye, his wife Golde (Rachel Bailey), and his five daughters live in a small village in what is now Ukraine at the turn of the 20th Century, when tensions between Russian authorities and Jewish residents have been growing rapidly, along with a rise in political upheaval and resistance movements. While Tevye educates the audience about their cultural and religious traditions, there is also this increasing sense that those traditions are going to be challenged in various ways, first in the marriage choices of his three eldest daughters Tzeitel (Jade Cash), Hodel (Danielle Singleton), and Chava (Zoe Klevorn); and soon increasingly in other areas like pogroms that have been effecting other villages, but are threatening to spread to Anatevka as well. 

The plot and the script are the same as always. If you’ve seen this show before, you know how it’s going to play out, but what happens in this show is that it’s in a small space, with a smaller cast than usual, and with a few players playing multiple roles, so the intimacy and immediacy of the story is heightened in a noticeable way. This is also a production that has professional actors performing alongside students from FNT’s educational programs, and the mixture is effective for the most part. One notable effect of this casting is that the youth of the daughters and their suitors is especially obvious here. The younger daughters Bielke (Lacie Irby) and Shprintze (Annie Miller) blend in well with their older counterparts, and the older daughters’ challenging their parents’ insistent traditions becomes even more pronounced. There is a bit of awkwardness at times in the casting of the non-Jewish “Russians”, in that most of these roles aside from the Constable (Scott MacDonald) are only played by two actors, Kieran Thompson–who also plays Chava’s suitor, Fyedka–and Callum Thompson–who also plays Mendel, the Rabbi’s son. Although both actors are excellent–and Callum Thompson is especially adept at comedy–the doubling, tripling, and quadrupling of roles, especially with these roles, can occasionally seem awkward, as when you see the actor playing the sympathetic Fyedka also playing decidedly non-sympathetic roles. 

Still, for the most part, the casting is spot-on, with Cooper and the also excellent Bailey making an ideal Teyve and Golde, with their good-natured bickering and sweet duet on “You Love Me” as true highlights. There’s also a memorable turn by Lantsberger showing excellent comic timing as well as an impressive level of depth as Yente the Matchmaker, as well as a dominant turn as Fruma-Sarah in the “Tevye’s Dream” sequence, which also features the clever doubling of Cash–who plays daughter Tzeitel–also playing Grandma Tzeitel with verve and precise timing. The strongest vocals come from Cooper and also Singleton as Hodel, whose “Far From the Home I Love” is heartfelt and powerful. The three suitors, Motel (Milo Garlich), Perchik (Henry Schumacher), and the aforementioned Fyedka are well-matched with their romantic partners, and Klevorn’s Chava is especially strong in her plotline. Their are also memorable supporting performances from Ken Haller as butcher Lazar Wolf, Bradley Rohlf as the Rabbi and others, Colin Healy as Mordcha and others, Josh Baumgartner as Nachum and others, Maggie Nold as Motel’s mother Shaindel and others, and Fiona Brickey, who is a continuing presence and excellent musician as the titular Fiddler. 

The musicianship is a particular star of this production. It’s one of those “actor-as-musician” stagings, and most of the  performers play an instrument at least to some degree in the show. Most notably, in an audio and visual sense, are the aforementioned Brickey who is fantastic on violin, as well as music director Healy on piano, accordion and guitar; Baumgartner, whose hauntingly proficient clarinet is ubiquitous; and Rohlf on various percussion instruments. Cooper also plays percussion at key moments, and his drumming is especially powerful on some of his solo vocal numbers. There are also memorable turns from Bailey on guitar, MacDonald on keyboards, Lantsberger on percussion, Nold on flute, and Klevorn on piano, particularly in the “Chava Sequence” in Act 2, which adds an extra degree of poignancy to this scene. The blend of music, acting, and vocals is such a vital part of this production, bringing much power to the story and helping to emphasize the themes and Jewish musical traditions along with the story.

In addition to the performances, the production values are stunning, bringing truth to the phrase “less is more”. Greenfinch is a small space, so an elaborate set would be difficult, but what the creative team has accomplished here is a set that fits the space and also emphasizes the transitory nature of Jewish people throughout history, as is noted in the final scenes. The set, designed by director Caleb D. Long, along with Rohf and Healy, consists of several movable pieces as well as trunks and luggage, along with having the piano fit into the set as the bar at Mordcha’s tavern. There’s also fantastic work from scenic painter Katie Orr, as well as lighting designer Ryan Thorp and sound designer LP Guterman, who contribute much to the eye-catching and seemingly magical storytelling in “Tevye’s Dream”, the wedding scene, and much more. Long’s props design and Jen Blum-Tatara’s inventive costumes also contribute to the overall “traditional with a twist” vibe of the show. 

Overall, this is a Fiddler that’s clearly Fiddler, but with a few especially well thought-out staging elements that make it like nothing you may have seen before. It’s a pleasant surprise, with all the energy, humor, and poignancy that is to be expected from this show, but with a strong emphasis on the music, and an unmistakably obvious sense of heart. It’s an astonishingly well-realized production. 

Sarah Lantsberger, Rachel Bailey
Photo by Katie Orr
Fly North Theatricals

Fly North Theatricals is presenting Fiddler on the Roof at the Greenfinch Theater & Dive until May 3, 2026

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NJT Explores a Family’s Struggle in Poignant, Powerful “Prayer”

Posted in St Louis Theatre, tagged , , , , , on April 23, 2026| Leave a Comment »

Prayer for the French Republic
by Joshua Harmon
Directed by Rebekah Scallet
New Jewish Theatre
April 18, 2026

Dave Cooperstein, Bryce A. Miller, Jenni Ryan, Hailey Medrano
Photo by Jon Gitchoff
New Jewish Theatre

Prayer for the French Republic is a long show–running just over three hours with two intermissions. The notable thing about New Jewish Theatre’s current production, though, is that it doesn’t seem that long. The engaging story, well-drawn characters and superb performances make for a riveting production that never drags for one second. Under the direction of Rebecca Scallet and featuring an excellent cast of local performers, it’s a fascinating examination of cultural, political and generational issues that are as relevant as ever today. 

The play follows several generations and branches of one French Jewish family, over two time periods–1944-46 and 2016-2017. The story starts in the more modern time period, narrated by Patrick Salomon (John Wilson), one of two adult children of Pierre (Bob Harvey), who still runs the piano store that has been in family for generations. The other is Marcelle (Jenni Ryan), who is married to Charles Benhamou (Dave Cooperstein), and has two children–the devout Daniel (Bryce A. Miller), and the outspoken, confrontational Elodie (Hailey Medrano). As the family is hosting a distant American cousin, Molly (Lilah Kreis), Daniel comes home from work with a black eye and other injuries, causing the family to examine their own beliefs and attitudes about what it means for a a Jewish family to live in France with anti-Semitism and far-right political movements on the rise. 

Meanwhile, the parallel story follows Patrick and Marcelle’s ancestors, Irma (Kathleen Sitzer) and Adolphe (Bill Stine) as they live through World War II in Paris, worrying about their children who have met different fates as a result of Nazi occupation. The main focus is on their relationship with son Lucien (Adam Flores), who has returned after the war with his son, the teenaged Pierre (Ben Hammock) without Lucien’s wife and daughters. Lucien is evasive about what has happened, but he’s also determined to carry on the family business and encourages Pierre to do the same, while Irma presses him to open up about what has happened to his family.

The script and story are especially well structured, with the two family stories blending together with a believable sense of drama balanced by needed moments of humor, and with credible situations and memorable characters. It’s a story that resonates today as well as being a reminder of the history of the struggles and mistreatment of Jewish people throughout the centuries, and the very real sense of fear and yearning for safety that results from the repetition of that pattern. There are difficult issues raised here, made highly personal in the story, and I’m sure the arguments raised will provoke many thoughts and conversations  among the audience. There are no neat answers, but the situations are raw and real, with thoughtful pacing and direction, and a fantastic cast bringing out all the authenticity and emotion that script and subject matter require. 

The family dynamics are especially well portrayed here, with the excellent Ryan at the center as the caring and conflicted Marcelle, whose love and concern for her family is front and center here. She’s well-matched by a sensitive turn from Cooperstein as the increasingly determined Charles, and also by Wilson as the personable but somewhat cynical Patrick. Miller is also especially likable as the earnest Daniel, who makes a believable connection with Kreis’s kind and idealistic Molly. Medrano is also a standout as the outspoken Elodie, who gets several scene-stealing and thought-provoking moments throughout. Harvey serves as a wise, somewhat grounding presence as the elder Pierre, as well, contrasting well with his younger counterpart, Hammock in a sensitive turn as teen Pierre. Flores is a picture of determination as Lucien, and Stine and Sitzer make a credible, caring couple as Irma and Adolphe. It’s a well-balanced cast, full of energy and palpable emotion in keeping with the poignant tone of the story.

As is usual for NJT, the production values are superb, with David Blake’s set working well at showcasing the same Paris apartment in both time periods, and the use of the piano as a focal point is especially effective. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the cast according to two distinct time periods. Mary Robinson’s sound design and original music add much to the atmosphere, and there are also some memorable singing moments from the cast at various moments. The lighting by Heather Reynolds sets an appropriate evocative tone throughout the story, as well. 

This is a powerful story, with a profound emotional impact. It made me think about other stories I’ve seen or read with similar themes, such as The Diary of Anne Frank, that is referenced in the show and has been performed at NJT in the past. It also calls to mind current debates about anti-Semitism in modern times, the state of Israel and the actions of its government, and the rise of various political movements around the world. There’s much to think about here, and the playwright has not given easy answers, but has portrayed a thoroughly believable family dynamic and memorable, relatable characters. It’s a remarkable production, and probably the quickest three-and-a-half hour play I’ve seen.

Bill Stine, Kathleen Sitzer
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Prayer for the French Republic at the J’s Wool Studio Theatre until May 3, 2026

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“End of the World” Sings, Dances and Satirizes in Whimsical Fashion at Upstream

Posted in St Louis Theatre, tagged , , , , , , , on April 20, 2026| Leave a Comment »

The End of the World Cabaret
by Jura Soyfer, Adapted by Philip Boehm
Music by Paige Brubeck
Directed by Lizi Watt
Upstream Theater
April 17, 2026

Chris Tipp, Amarachi Kalu, John Flack, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

At least in terms of the premise, Upstream Theater’s latest production reminds me of the recent film Don’t Look Up, although it was originally written decades earlier. Austrian playwright Jura Soyfer was writing a few years before the beginning of World War II, but many of the themes in his show, The End of the World Cabaret, are surprisingly timely, although not quite as bleak as more modern “end of the world” works tend to be. It’s been adapted by Upstream’s Philip Boehm, and directed by Lizi Watt, featuring a lively cast and stellar (pun intended) production values. 

This is also a musical, with a catchy score by local musician Paige Brubeck of Sleepy Kitty, and beginning with a lively song sung out in space by the Sun (Jane Paradise) and several of the colorfully attired planets, including Mercury (Caitlin Mickey), Venus (Isaiah Di Lorenzo), Saturn (Amarachi Kalu), the erratic Pluto (Ashwini Arora), and Earth (Sarah Wilkinson), who has become “out of step” with the other planets to the point in which the Sun suggests something drastic. After consulting with the Moon (John Flack), the planets enlist a passing comet named Konrad (Chris Tipp) to alter his course and rid the planet of the troublesome humans who live there. As the comet hurtles toward Earth, the perspective shifts to the surface, where the impending apocalypse becomes front page news, and Professor Peep (also Tipp) is charged with inventing a machine to deflect the comet. Peep is earnest and persistent, but the problem is that the various leaders seem more interested in their own reputations and propaganda than actually saving the planet. Of course, there are also enterprising companies and millionaires who exploit the occasion for their own benefit, all the while not seeming to grasp the seriousness of the threat. The tone is satirical and largely comic, but there is an underlying sense of desperation and futility as Peep makes his way around the world in search of someone, anyone, who will help him build his machine. It all seems hopeless, but is it really?

There’s a lot to think about here, and many, many parallels to today that are emphasized in this adaptation, although the overall vibe is also very 1930s in look, style, and attitude. I won’t spoil the ending, but I will say that the show comes across as both a celebration and a criticism of humanity, with their creativity and energy on one level, and self-interest and greed on another. The overall whimsical vibe is carried off especially well in the production design, from Patrick Huber’s colorful and creative set to Max Florida’s scenic painting, Maria I. Straub’s props, and the wonderfully vibrant costumes by Meredith LaBounty and Anabel Weiland that feature both wildly fanciful and period appropriate outfits, as the characters and situations demand. There’s also excellent work from lighting designer Steve Carmichael, contributing to the overall whimsical and increasingly tense tone as the story goes on. Aidan Siliceo-Roman’s sound is also strong, as is Joe Schoen’s music direction and Dawn Karlovsky’s vibrant choreography.

As for the performances, they are fantastic, led by Tipp in a remarkably versatile performance as the determined, increasingly frustrated Peep and as the intrepid, personable guitar-toting comet Konrad. Tipp’s presence, energy, and vocals are highlights, as are the vocals from Mickey in an operatic moment, and the memorable turns from Paradise as the Sun and various roles;, Flack as the personable Moon and others; Di Lorenzo as a passionate Venus; Wilkinson in several roles including the melancholy Earth; Kalu and Blindauer also in a variety of roles from planets to performers; and Arora in several roles including a friendly pup and the flighty Pluto.  The entire ensemble works together with enthusiasm and excellent timing, in the general satirical spirit of the show, while also carrying across the more weighty moments when they occur.

The End of the World Cabaret is a show that’s bound to provoke lots of thought and conversation, and the comparison between the 1930s mindset and today’s is especially notable. All the cultural references thrown in add to the laughter, and there’s much to ponder on the nature and worth of humanity as well. It’s a witty, challenging, entertaining production.

Isaiah Di Lorenzo, Caitlin Mickey, Jane Paradise, Patrick Blindauer, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

Upstream Theater is presenting The End of the World Cabaret at the Marcelle until May 3, 2026

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Immediacy, Emotion Resonate in Updated “R & J” From Chorus of Fools

Posted in St Louis Theatre, tagged , , , , , , on April 18, 2026| Leave a Comment »

Romeo & Juliet
by William Shakespeare
Directed by Eric Satterfield
Chorus of Fools, in Collaboration with KTK Productions
April 11, 2026

Zach Pierson, Tia René Williams
Photo by Tress Kurzym
Chorus of Fools

The challenge with Romeo & Juliet is that, as one of Shakespeare’s best-known and most studied plays, it gets performed a lot, so audiences can get tempted to go in not expecting much of a challenge. It’s up to the director, cast, and creative team to come up with a compelling staging, and Chorus of Fools has done that, for the most part, with their latest production directed by Eric Satterfield, which features an updated setting, creative use of music, and a well-realized visual world. It’s also a good showcase for a fine, well-chosen cast. 

Another challenge of this play is that, while it’s certainly a tragedy, it features a notable tone-shift, coming across at first as more of a comedy until escalating tensions turn tragic midway through, darkening the mood for the rest of the story. The story is well-known, with feuding families, forbidden passion, and misunderstandings leading to the ultimate tragic conclusion. It’s a timeless story of how prejudice and lack of communication can lead to devastating consequences. This production from Chorus of Fools, at the new KTK Productions venue at Most Holy Trinity Catholic Church in Old North, updates the proceedings and emphasizes emotion, with an early/mid-2000’s vibe that works well with the portrayals here.

Romeo (Zach Pierson) and Juliet (Tia René Williams) are especially convincing as a pair of young lovers from rival families, who meet and make an instant emotional connection. Pierson also convinces in his attraction despite his initially somewhat flighty portrayal that is in keeping with the story, as he hangs out with buddies Benvolia (Moira Healy) and Mercutio (Rowan Van Horn) and moons about another love interest, Rosaline (Katherine Garrett), until he finally sets eyes on Juliet. Williams, for her part, is an engaging, suitably naive but eager Juliet, and the scenes between her and Pierson are credibly emotional. There are also excellent turns from Healy as the “peacemaker” friend and especially Van Horn as the impulsive, poetically inclined Mercutio. Nikki Pilato has strong moments as Juliet’s devoted Nurse, as well, as do Celeste Genevieve Gardner as Juliet’s belligerant cousin, Tybalt, Mo Moellering and Elizabth Breed Penny as Juliet’s two mothers of contrasting temperaments, the stern Senator Capulet and the conflicted Lady Capulet. LaWanda Jackson also makes a strong impression as Romeo’s religious mentor, Sister Lawrence, and there’s fine work from the rest of the ensemble as well, with notable fight choreography by Moellering and memorable moments especially in the dance where Romeo and Juliet meet and later in the chillingly climactic scene in the Capulet family vault at the graveyard. 

This show’s vibe is consistent, with excellent costumes by Tara Laurel and masks by Vickie Delmas, impressive use of music and moments of excellent singing. Kudos to music director Lexie Johnson and sound designer Eric Satterfield, along with lighting designer Erik Kuhn and prop designer Vickie Delmas. The set by Tara Laurel serves well to set the mood and works well in various different settings, from the masked party, to Juliet’s balcony and bedroom, to the town square, and to the darkness of the graveyard vault. 

Although there are occasional pacing issues and a few minor difficulties with acoustics and understanding lines here and there, for the most part this is a cohesive, well-told story with consistent characterization and a fully realized world. It’s a Romeo & Juliet that’s both immediate and relatable as well as being profoundly tragic in a timeless way. The updated setting works well for the story, and the message comes across with emotion and clarity. It’s another solid production from a promising newer theatre company.

Zach Pierson, LaWanda Jackson
Photo by Eric Satterfield
Chorus of Fools

Chorus of Fools, in collaboration with KTK Productions, is presenting Romeo & Juliet at Most Holy Trinity Catholic Church until April 19, 2026

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SDT’s Energetic “9 to 5” Highlights Nostalgia, Enthusiastic Cast

Posted in St Louis Theatre, tagged , , , , , , , , , on April 8, 2026| Leave a Comment »

9 to 5 the Musical
Music and Lyrics by Dolly Parton, Book by Patricia Resnick
Directed by Justin Been
Choreographed by Michelle Sauer and Sara Rae Womack
Stray Dog Theatre
April 4, 2026

Mara Bollini, Sarah Polizzi, Janelle Gilreath Owens and Cast
Photo: Stray Dog Theatre

I’m still not convinced 9 to 5 needed to be a musical. A hit comedy film from 1980 featuring the talents of Lily Tomlin, Jane Fonda, and Dolly Parton, the story was brought to the stage seemingly as a reason for the beloved Parton to write a musical score. And the score is probably the best part of 9 to 5 the musical, which also gets to serve as the showcase for its cast and especially the three leads, who are are notably excellent in Stray Dog Theatre’s latest production, directed by Justin Been. Still, the script doesn’t land quite the way the movie’s did (even though it’s written by the same author), although SDT’s cast and crew certainly try their best, and make for a crowd-pleasing production. 

I saw this show a few years ago, in a well-produced version from another local theatre company, and while I enjoyed it, for the most part, it didn’t make a strong case for why this show needs to exist in the first place. My thoughts about SDT’s production are along the same lines, although the cast and production values are certainly energetic and bring out much of the comedy of the piece. There are even featured video segments featuring Dolly Parton herself that add to the nostalgic air that seems to be the aim of the show now that its setting is almost 50 years in the past. There’s a vibrant production design featuring a colorful and versatile set by Rob Lippert, memorable costumes by Colleen Michelson and wigs by Sarah Gene Dowling, eye-catching lighting by Tyler Duenow and projections by Justin Been, energetic choreography by Michelle Sauer and Sara Rae Womack, and a fantastic band led by music director Mal Golden. Still, the overall impact of the show is different now, taking a lot of the “bite” out of the sharp satire from the film and playing out more as a “remember when” sort of story that majors on nostalgia, although the overall story majors on women who struggle to be taken seriously in the workplace and male co-workers who are largely sexist ogres, especially the boss, the selfish and scheming Franklin Hart (Joel Garrett Brown).

The story is mostly the same as the film, following three different women–longtime employee and management candidate Violet Newstead (Jennelle Gilreath Owens), “Backwoods Barbie” secretary and object of the boss’s lust Doralee Rhodes (Sarah Polizzi), and recent divorcee and workforce newbie Judy Bernly (Mara Bollini), who all have their various difficulties trying to succeed at their company, Consolidated. Among the obstacles is the obnoxious Hart along with his lovestruck assistant Roz (Laura Lee Kyro) and the general “boys club” office environment. There’s also an added love interest for Violet named Joe (Cole Guttman) who works in accounting and turns up from time to time, but isn’t given a lot to do. The plot essentially follows the film’s story, but with singing, dancing, and production numbers. 

The cast is strong, especially for the three leads. Owens projects the right degree of determination and competence as Violet, Bollini is especially adept at the comedy as the gutsy but green Judy, and Polizzi excels at playing a “Dolly Parton-type” without expressly imitating Parton. There’s also a memorable turn from Kyro as the lovesick Roz, who comes across as somewhat pathetic here, especially considering how sleazy Hart is, played with energy by Brown. There are fine turns by Josh Heffernan as Doralee’s devoted husband Dwayne and Gutmann making the most of an underwritten role as Joe. There’s also an enthusiastic ensemble who make the most of the energetically choreographed production numbers starting with the well-known title song. 

9 to 5 was a hit film, and the musical received mixed reviews on Broadway. It’s certainly a crowd-pleaser, and a showcase for Parton’s music and the well-cast three leads at Stray Dog Theatre. It has its fun moments, but it still doesn’t convince me that this movie needed to be a stage musical. Still the cast and crew make the most of this larger-than-life nostalgia fest. Especially if you’re a fan of the film, it’s worth checking out. 

Cast of 9 to 5 the Musical
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting 9 to 5 the Musical at Tower Grove Abbey until April 25, 2026

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Education and Master-Class Acting Highlight Orange Girls and STLAS’s Stellar “Half-Life”

Posted in St Louis Theatre, tagged , , , , , , on April 8, 2026| Leave a Comment »

The Half-Life of Marie Curie
by Lauren Gunderson
Directed by Nancy Bell
The Orange Girls and St. Louis Actors’ Studio
April 3, 2026

Michelle Hand, Meghan Baker
Photo by Patrick Huber
St. Louis Actors’ Studio

The latest production from St. Louis Actors’ Studio is a collaboration with a company I had heard of, but hadn’t seen because they had disbanded before I started reviewing theatre in St. Louis. The Orange Girls’ semi-reunion is well-chosen, considering the focus of the latest production of the achievements, challenges, and deep friendship of the women featured in Lauren Gunderson’s well-structured The Half-Life of Marie Curie. Thoughtfully directed by Nancy Bell and featuring some truly stunning production designs, this show highlights a terrific cast and two important figures in the history of women in science. 

The story, set mostly in 1912, focuses on renowned, widowed Polish-French scientist Marie Curie (Meghan Baker), who is in the midst of a scandal involving her affair with a married French scientist. Hounded by the press, Curie is soon visited by her close friend, British engineer and mathematician Hertha Ayrton (Michelle Hand), who invites Curie to join her at her remote seaside cottage in England to avoid the press attention. Curie eventually agrees to go, bringing with her a glowing vial of radium–the element she discovered–that she keeps in her pocket. During her stay at Ayrton’s cottage, the two women engage in discussions and debates involving women’s suffrage–a passionate cause on Ayrton’s part–their relationships with their late husbands, the treatment of women in science, double standards involving men and women in affairs, and more. It’s a fascinating look at a close female friendship as well as the struggles of women to be seen as equals in the scientific field, and in society in general, as well as the wonders and dangers of new scientific discoveries, and the fragile nature of life itself, represented by the recurrent ticking of a clock.

The production is well-measured and remarkably well cast, featuring two of the three Orange Girls founders, Baker and Hand, at their best. Baker’s Curie is at once thoughtful, reticent, and determined, while Hand’s Ayrton is fiery and assertive while also being intensely loyal and encouraging. The two make a great team, bringing much relatability and warmth to their bonding moments, especially in a both hilarious and profound sequence in which the two share a bottle of whisky. The historical and biographical elements of the story are woven expertly into the relationship moments, making for a realistic and engaging portrait of a deep friendship as well as a snapshot of a moment in history. 

In addition to the fantastic cast and pacing, the production design is simply fantastic, with a striking “picture frame” style set by Patrick Huber that highlights a beautiful backdrop painting by Andy Cross as an homage to German painter Anselm Kiefer’s Für Gregory Corso. Denisse Chavez’s lighting is also remarkable, highlighting the set and the shifting moods and tensions of the story, and Kristi Gunther’s sound provides that recurring tick, the hiss of arc lights, and more in lending an air of authenticity to the proceedings. There’s also wonderfully detailed work from Teresa Doggett on the stylish and period-appropriate costumes, and from Maria I. Straub-David on props design. It’s an expertly designed production that brings the audience into the characters’ world and times, as well as into their minds and feelings with vivid intensity.

The Half-Life of Marie Curie is a profoundly fascinating production. Featuring a welcome reunion of a celebrated St. Louis theatre company and highlighting the works and relationships of brilliant and determined women, it’s a show that educates while it entertains. It’s also a master-class in acting from its two leads. It’s a must-see production from STLAS and the Orange Girls. 

Michelle Hand, Meghan Baker
Photo by Patrick Huber
St. Louis Actors’ Studio

The Orange Girls and St. Louis Actors’ Studio are presenting The Half-Life of Marie Curie at the Gaslight Theater until April 19, 2026

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“Rosencrantz & Guildenstern” Philosophize and Hold Attention in STLSF and Albion’s Fascinating Collaboration

Posted in St Louis Theatre, tagged , , , , , , on March 30, 2026| Leave a Comment »

Rosencrantz & Guildenstern Are Dead
by Tom Stoppard
Directed by Tom Ridgely
St. Louis Shakespeare Festival in Association with Albion Theatre
March 29, 2026

Mitchell Henry-Eagles, Ryan Omar Stack
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival has grown a great deal over its lifespan, and now it’s bigger than ever. While, as always, they will be staging their “main event” in Shakespeare Glen later this year, they’ve also added a new production to their repertoire this season. Teaming up with the always excellent Albion Theatre, the festival is taking to the Kranzberg Arts Center to stage Rosencrantz & Guildenstern Are Dead, playwright Tom Stoppard’s absurdist riff on Hamlet, here directed by Tom Ridgely and featuring a strong cast and excellent staging that emphasizes the theatrical to profound effect.

One of Stoppard’s more well-known plays, this is also among the best known of the “retell a familiar literary work through the eyes of side characters” genre, especially among theatrical works. I hadn’t seen the play before this production, but I read it in high school drama class, after we read Hamlet. I didn’t remember it well, because high school was longer ago than I sometimes realize, but I remembered the general vibe. As always with plays, though, seeing it live is even better than reading, and seeing this very wordy play brought to life with well-defined characters and fully realized performances makes it all the more entertaining, and thought-provoking. It helps the audience to be familiar with the plot of Hamlet, and some knowledge of absurdism also helps, but there’s still a lot here to think about regardless of prior knowledge.

This show keeps its theatricality on full display, and it begins with the audience being ushered in through a see-through plastic curtain, which stays up for the first segment of Act 1, as Rosencrantz (Mitchell Henry-Eagles) and Guildenstern (Ryan Omar Stack) play a coin-flipping game and ponder the nature of probability. They can’t quite remember what they’re supposed to be doing in the royal court of Denmark, but they vaguely remember being sent for and they make their way there, meeting a traveling theatre troupe on the way. This is, of course, the same group that features in Hamlet, but they have more to do here. The lead Player (Jeff Cummings) becomes something of a recurring foil/provocateur for Rosencrantz and Guildenstern, and the players add much to the humor and sense of inevitability of the story. Our “heroes” soon part with the players (to meet again–and again–later), and end up at Elsinore, where various characters and events from Hamlet weave in and out of their story, including Claudius (Eric Nenninger), Gertrude (Joy Christina Turner), Ophelia (Danielle Bryden), Polonius (Lynn Berg), and Hamlet himself (Sean C. Seifert), only here, the goings on of the “parent play” are like passing moments that must occur, while our bewildered duo still wonder what to make of their roles, their obligations, and their very identities. 

If you know the events of Hamlet, you sort of know where this is going, but we see everything from a new angle, including moments only talked about in the source play. The focus is much more on being and pondering than doing, although there is a fair amount of action especially in the third act, and it seems to pose a general question throughout of “who is in charge, anyway?” Even our leads don’t know for sure, nor do they always seem to know which one of them is which. Still, they are a personable pair, and the looming conclusion takes on a tragic air as the ship on which they find themselves makes its way across the sea. 

The actors are well chosen, and the pacing is just right–not too fast and not so slow as to drag. The two leads, Henry-Eagles and Stack, present relatable if bumbling characters that take the audience along on their existential journey with determination and moments of wit and charm. They make a memorable pair. Cummings as the Player is also a force, with an obvious theatrical air that works to entertain and challenge. The rest of the performers also acquit themselves well, with standout moments from Seifert as a recognizable but somewhat bewildering Hamlet, Nenninger as a commanding Claudius, and India Eddy as a somewhat reluctant young player named Alfred. The whole ensemble is cohesive and energetic, and all are worthy of kudos. In addition to those already mentioned, they include Tiélere Cheatem, Bryn McLaughlin, and Mason Ramsey. 

The technical aspects of this production are in keeping with the whole theatrical tone of the show, which features fourth-wall breaking, meta references, and acknowledging that an audience is present. The audience walking through “backstage” to get to their seats is just the beginning, and the whole set-up uses the Kranzberg black box space to its fullest potential. The set, lighting, and props by Katherine Stepanek and sound by Amanda Werre contribute much to this overall air of being at, and also in, a play. Olivia Radle’s costumes are also cleverly designed and detailed, in keeping with the spirit of this play as well as Hamlet. There’s also excellent work from fight coordinator Bart Williams and intimacy coordinator Nikki Green.

If you love Shakespeare, and especially Hamlet, as well as having a bit of philosophical bent and a fondness for absurdism, this is a show for you. It’s a good starting point for exploring experimental aspects of theatre and connections between Shakespeare and contemporary drama. It’s also an excellent showcase for a magnificent cast. It’s a great new venture for the St. Louis Shakespeare Festival. No wonder all the performances are sold out (but there is still a waiting list)!

Cast of Rosencrantz & Guildenstern Are Dead
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival, in association with Albion Theatre, is presenting Rosencrantz & Guildenstern Are Dead at the Kranzberg Arts Center until April 11, 2026

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Soul Siren’s “Robbin” Intrigues and Educates with Strong Leading Performances

Posted in St Louis Theatre, tagged , , , , , on March 28, 2026| Leave a Comment »

Robbin, From the Hood
by Marlow Wyatt
Directed by Cameron Jamarr
Soul Siren Playhouse
March 21, 2026

Brandon Avila, Jayous Celestine
Photo: Soul Siren Playhouse

Soul Siren Playhouse has taken the stage at the .ZACK with their latest thought-provoking production, playwright Marlow Wyatt’s Robbin, From the Hood, directed by Cameron Jamarr. A look at class differences, corporate greed and exploitation, along with persistence and ambition in the struggle for economic advancement, this show features memorable characters, a well-chosen cast and impressive projections and sound, along with a fascinating if not entirely believable story, and some clunky staging. 

The story focuses on high school student Robbin Woods (Joyous Celestine), who lives with her grandfather, Percy (Don McLendon) in a small apartment in a struggling neighborhood. She and her best friend and classmate Juan Rodriguez (Brandon Avila) are excited about having been accepted to a summer job training program at mega-corporation Kennedy Global. There, they meet executives Margaret (Chrissie Watkins) and Kyle (Jeremy Thomas), who have differing opinions about taking them on as well as investing in the poorer neighborhoods of the city. Robbin and Juan initially thrive, but some complications arrive. On the home front as Robbin deals with the onset of dementia for Percy, and his estrangement from his son (Robbin’s uncle) Charlie (Trials Davis), who is in prison; while at the office, Robbin’s ambition gets her noticed, but eventually a new situation arises that calls her standing into question, also leading to potential conflict with Juan. I won’t say much more, but I will say that the title’s reference to Robin Hood isn’t a coincidence, and some characters aren’t what they initially seem. 

It’s an intriguing story with an important message of class struggles, corporate greed, and the importance of family bonds, but the structure is a little confusing at times, and the ending is a bit too abrupt. Also, the staging might work better on a unit set with designated “office” and “home” areas, because as it is, the staging requires so many scene changes that it affects the flow and length of the play, which runs nearly two hours without intermission. The cast is excellent, however, especially Celestine as the likable and determined Robbin, Avila as the equally determined and upbeat Juan, and McClendon as the loving but increasingly confused Percy. Woods does well in a smaller role as Charlie, and Watkins and Thomas are solid in their parts as the conflicted and conflicting Margaret and Kyle. 

The set by Bradford Rolen is especially effective in the home scenes, representing the small apartment well, but the office scenes don’t quite seem grand enough for as big, glitzy, and initially intimidating as Kennedy Global is supposed to be. The videos and projections by Jamarr are stunning, however, and add much to the overall impact of the story. There’s also good work on the sound by Jamarr and Rolen on costumes and props, making for an especially believable transition for Robbin and Juan into the corporate world. 

Overall, this is a thought-provoking, characterful story that effectively highlights the lead characters’ plight, although it could use a bit of restructuring to make it a little more coherent, and some of Robbin’s, Margaret’s and Kyle’s actions especially seem implausible in parts. Also, the .Zack space still has sightline issues that can detract from the overall audience experience. Still, for the most part, Robbin, From the Hood makes for an intriguing, educational evening of theatre.

Trials Davis, Don McClendon
Photo: Soul Siren Playhouse

Soul Siren Playhouse is presenting Robbin, From the Hood at the .ZACK until March 29, 2026

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The Rep’s “Ring of Fire” is a Celebration of Music and a Complex Life

Posted in St Louis Theatre, tagged , , , , , , , , , on March 28, 2026| Leave a Comment »

Ring of Fire: The Music of Johnny Cash
Written by Richard Maltby, Jr., Conceived by William Meade
Directed by Kate Bergstrom
The Repertory Theatre of St. Louis
March 20, 2026

Cast of Ring of Fire
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis’s latest production is a celebration of a man and his music, with the music taking the lead. Ring of Fire: the Music of Johnny Cash has been done at the Rep before, although this version, directed by Kate Bergstrom, seems a bit more dramatically focused, although music is still the star, with an excellent cast who all play instruments and make this “life of a musician” retrospective especially compelling, along with the show’s focus on talented but flawed individual who made the music. 

The show, featuring a cast of six players includes two “Johnny Cash” figures–the older Johnny (Kurt Zischke), who serves as the primary narrator; and the younger “J.R” (Andrew Frace), who figures in much of the developing story of Cash as a rising young performer. The production uses music to tell a fairly streamlined story of Cash’s life and career, featuring his parents (Zischke and Kim Blanck), his first wife, Vivian (Blanck), and most prominently his second wife, June Carter Cash (Caitlin McKechney), as the older Cash looks back on his life and personal choices. All along, the music is there, setting the mood and underscoring the story, as the musicians play expertly, including Eric Scott Anthony as Marshall and Ryan Guerra as Luther–Cash’s bandmates. It’s a story of hardship, love, and loss; aspiration, failure, and success; redemption and hope, all with the soundtrack of Cash’s classic hits like “I Walk the Line”, “Folsom Prison Blues”, “I’ve Been Everywhere”, and “Ring of Fire”, along with some country classics and traditional hymns. 

The music is the star, as I wrote, but the cast is simply magnificent as well, doing justice to the songs and overall spirit of musicianship and perseverance in trials. Zischke and Frace are both excellent as the older and younger versions of Cash, both managing to sound a lot like the singer in his different ages and eras. Frace especially gets the swagger and tone of the young Cash just right, as well as the stage presence, and Zischke has the right air of gravity and occasional melancholy as the older Cash looking back on his life. Zischke also has some fun moments early in the show as Cash’s father, paired with the personable and equally strong McKechney as Cash’s mother. McKechney is also ideally cast as June, managing to look and sound a lot like the real June, while playing a variety of instruments with dexterity and style and displaying believable chemistry with both “Johnnys”.  Blanck is also strong musically, especially on the fiddle, as well as getting a poignant moment as the neglected Vivian singing the heartbreakingly genuine “I Still Miss Someone”. Anthony and Guerra round out the cast with their superb musicianship, likable presence, and seemingly boundless energy. While the story itself isn’t exactly a thorough biography, it’s mostly about feelings, memories, and music, and all the players work well together getting that spirit across with flair.

In a technical sense, the show is simply and solidly staged, with an effective unit set by Scott C. Neale that reflects Cash’s farming roots and the traditions of country music. It’s all well lit by lighting designer Jayson Lawshee-Gress, with strong work by sound designer Amanda Werre, as well. The cast is outfitted with impressive country style by costume designer Renee Garcia, and there’s a bit of energetic country choreography by Taavon Gamble.

Overall, Ring of Fire is immensely entertaining, even if it is more concert than play. It should especially appeal to fans of traditional country music, and especially Johnny Cash. It’s certainly a crowd pleaser, and a highly enjoyable evening of musicianship, energy, and emotion in celebration of an imperfect but irreplaceable country music legend.

Andrew Frace, Kurt Zischke
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ring of Fire: The Music of Johnny Cash at the Loretto-Hilton Center until April 12, 2026

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Quirky, Experimental “Promenade” Showcases Strong Cast, Creative Staging at New Line

Posted in St Louis Theatre, tagged , , , , , , , on March 13, 2026| Leave a Comment »

Promenade
Book and Lyrics by Maria Irene Fornés, Music by Al Carmines
Directed by Scott Miller and Chris Moore
New Line Theatre
March 6, 2026

Cast of Promenade
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is known for shining light on off-beat and lesser known shows, and their latest offering is one of their quirkiest yet. Promenade is an experimental musical from 1969 that features a catchy score and a markedly absurdist style. It’s sharply satirical and surprisingly relevant to today, featuring a cast and creative team that have gone all-in on the absurdity, making for a thought-provoking, entertaining and challenging production that highlights the best of what New Line is about. 

This is a highly experimental show from the 1960s that doesn’t have a “plot” per se, but it does have a structure. Two convicts, known only as 105 (Ronmal Mottley) and 106 (Tawaine Noah) escape from a prison in which they are guarded by an egotistical, clueless Jailer (Ian McCreary). They then end up crashing a posh party attended by a group of “Aristocrats” identified by letters of the alphabet: Miss I (Kathleen Dwyer), Miss O (Benni Jillette), Miss U Chelsie Johnston), Mr. R (Chris Moore), Mr. S (Kent Coffel), and Mr. T (Robert Doyle). They sing about their “problems” such as each being in love with someone who loves someone else (“Unrequited Love”), and watch a performer (Lauren Tenenbaum) emerge from a cake and sing a song (“Chicken Is He”).  They are waited on by a Servant (Stephanie Merritt), Waiter (Nathan Mecey), and Dishwasher (Michael Kramer), and are later joined by the self-important and power loving Mayor (W. Smith III). While the Jailer tries to find the escaped prisoners, the power dynamics and class differences are emphasized as the scenes change and eventually involve a war in which the Waiter and Dishwasher are enlisted against their will. Also, the Servant and prisoners encounter a wandering Mother (Bee Mecey) looking for her long-lost children. 

Essentially, this is a series of vignettes emphasizing class struggles, socioeconomic differences, and misuse of power, as well the different standards for those suffering from various consequences of life. The music is catchy, and several tunes have been playing in my head since seeing the show on opening night. The styles range from operatic to vaudeville to 1960s musical theatre, showcasing the strong voices of the cast particularly well. The cast is fantastic across the board, with Bee Mecey a particular standout both for comic timing and vocals as the forlorn Mother. Merritt also carries strong presence as the Servant, and Mottley and Noah make a strong impression as 105 and 106, with Smith showing off hilarious comic presence as the gleefully snooty Mayor. The group singing and harmonies are also especially excellent, with strong ensemble chemistry and energy. Livy Potthoff’s choreography is also strong, as are the musical arrangements by music director Jason Eschofen, who leads the terrific New Line Band. 

Another notable aspect of this production is the creative staging and use of Rob Lippert’s minimalist but memorable set, including table set piece that is cleverly reused several times to become the center for various scenes. The costumes by Becca Rose Bessette are also eye-catching and whimsical. The lighting by Eric Wennlund also works especially well to set the mood, as does Ryan Day’s sound design. It’s an energetically paced production, highlighting the satirical nature of the material and showcasing the performers with vibrant energy.

Promenade is a show like you probably haven’t seen before. Although it does fit in musically and thematically with its 1960s origin, its themes resonate a great deal to notable topics of today. It’s a production that brings out the best of what New Line can do while satirizing some of the worst of what humanity has to offer in terms of economic disparity and abuse of power. It’s certainly a show that will make you think, and you just might find the songs playing in your head as you leave.

Tawaine Noah, Stephanie Merritt, Bee Mecey, Ronmal Mottley
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Promenade at the Marcelle Theatre until March 28, 2026

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