Posts Tagged ‘st. louis’

Ordinary Days
by Adam Gwon
Directed by Elisabeth Wurm
Tesseract Theatre Company
November 18, 2022

Jacob Schmidt, Lauren Tenenbaum
Photo by Taylor Gruenloh
Tesseract Theatre Company

Ordinary Days isn’t a big musical, but its staging is a big step for Tesseract Theatre Company. The show, a sweet-natured relationship story from writer/composer Adam Gwon, is Tesseract’s first venture into the world of musical theatre, after focusing primarily on new and lesser-known plays. As a first foray into a new creative direction, with more musicals planned for next year, I would say this production gets the company off to a promising new start.

The show revolves around four characters–or five, since New York City itself is essentially a co-star in this story. Four young New Yorkers navigate the city, relationships both romantic and platonic, and their life goals in the first decade of the 21st Century. The play is tied to its time for at least one important reason that is made apparent as the story unfolds, but it’s also just as tied to its location, with New York City representing both ordinary day-to-day life struggles as well as the “Big Picture” goals as emphasized in one of the show’s more prominent songs. The characters interact primarily in pairs. There’s Micheal Lowe as Jason, a hopeful young man who has optimistic dreams for his relationship with his girlfriend Claire, played by Brittani O’Connell. The two are embarking on a new stage of their relationship, having just moved in together, but Claire struggles with making a lasting commitment due to issues from her past that she hasn’t revealed to Jason. Meanwhile, ambitious graduate student Deb, played by Lauren Tenenbaum, is frustrated when she misplaces her notebook containing her thesis, and is thrust into a halting friendship with the ever-cheerful Warren, a would-be artist played by Jacob Schmidt. Deb first views Warren, who finds her notebook, with suspicion, but their interactions eventually help her to see beauty in the “little picture” of everyday life in addition to the bigger picture of the lofty goals she pursues. There’s nothing flashy about this story, but it’s simple and full of heart, humor, and moments of poignant drama, focusing on the characters and their relationships as they live their lives in the Big Apple.

The staging is simple but effective, with a deliberate pace dictated mainly by the songs, as the show is mostly sung-through. Even though the odd acoustics of the .ZACK Theatre sometimes make the show difficult to hear, Director Elisabeth Wurm has assembled a strong cast, with excellent ensemble chemistry and credible interaction between the pairs of performers. Lowe is an amiable, believably optimistic Jason, with a strong voice although he tends to sound a bit shouty in some of the more intense moments. He’s well-matched by O’Connell, who is appropriately mysterious as the reticent Claire, and also in good voice except for a few occasional cracks. The best singer in the production is Schmidt, who has a strong tenor voice that works well with his songs and his sometimes overly cheerful character, who Schmidt infuses with an affable spirit that makes him likable even when his cheeriness threatens to go over the top. Tenenbaum also turns in a strong performance as the ambitious, anxious Deb, delivering her songs with energy and conviction, and working especially well with Schmidt as their characters’ unlikely friendship grows. The show also looks good, with the simple staging augmented by Taylor Gruenloh’s memorable projections, Brittanie Gunn’s evocative lighting, and Zach Neumann’s proficient piano accompaniment. 

Pivoting their focus to (mostly) musicals is a bold decision for Tesseract, but Ordinary Days shows that it’s a good call. This show also had the biggest audience I’ve ever seen at a production from this company, so theatregoers seem to like the decision, as well. It’s an auspicious beginning for Tesseract’s next act, represented by a little show with a big heart and a strong cast. 

Micheal Lowe, Brittani O’Connell
Photo by Taylor Gruenloh
Tesseract Theatre Company

The Tesseract Theatre Company is presenting Ordinary Days at the .ZACK Theatre until November 27, 2022

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The Good Ship St. Louis
by Philip Boehm
Original Music by Anthony Barilla
Directed by Philip Boehm
Upstream Theater
November 6, 2022

Upstream Theater’s latest production is a World Premiere original, with intriguing subject matter and a strong cast. Based on true events, this show explores the issue of how refugees are treated in times of political upheaval, showing that the more things change, the more they remain the same. It’s a highly ambitious project, and it’s a compelling story with simple but strong production values and a particularly effective ending, although there are a few bumps along the artistic voyage. 

The story is presented with a modern-day framing device, and a few looks at the refugee experience from various times in modern history, focusing much on St. Louis. The main story follows the passengers and crew of the M.S. St. Louis, a German vessel that was carrying many Jewish passengers to Havana, Cuba, in 1939. The ship sparked much controversy and international headlines, and after several countries (including the United States) refused to receive the ship and its passengers, it was eventually sent back to Europe, finally being allowed to dock in Antwerp, Belgium. The story of the ship is interspersed with the modern-day story of Susan (Kari Ely), who upon the death of both of her parents, finds a trove of boxes, documents, pictures, and various items in her attic relating the story of a married couple–the German-born Herbert (Jeff Cummings) and the Polish-born Rosa (Nancy Bell), who were passengers on the ship. The connection between Susan–whose parents were both raised in Irish-American families–and this couple becomes apparent eventually, leading up to a truly poignant conclusion and ending sequence.

In the meantime, we also get to see the stories of other passengers and crew, including sympathetic Captain Schröder; the captain’s steward Leo Jockl (Eric J. Conners), who harbors a secret; and Nazi group leader and second class steward Schiendick (Christopher Hickey), who is a secret spy; and several of the Jewish passengers including Recha (Sarah Burke), and her ailing professor husband Moritz (Tom Wethington), as well as Charlotte (Kathleen Sitzer), who was raised in a well-to-do family. We also get to hear the stories of a few people affected by different conflicts over the years, including Bosnian refugee Jasmin (Conners), who settles in St. Louis; Leyla (Sitzer), a Syrian refugee who settles in Lebanon; and Ukrainian Latin teacher Lidia (Burke), who finds her knowledge of Latin useful as she travels between various countries. There’s also a series of vignettes featuring three characters with similar names in similar situations, reacting to the news of the day in various times and places–Federico/Freddie/Frederick/Fred (Hickey), and Benito/ Benny/Benedict/Ben (Wethington), who discuss the news of the world and sports; and Maria/Marie/Mary/Marisa (Mariand Jagels Felix), who waits tables (or who could, considering the circumstances). It’s a compelling story with perhaps a few too many plots and characters, although the connection to the refugee experience and attitudes toward refugees over the years is an important idea. The structure can get a little muddled and drag at times, although the main story of the M.S. St. Louis remains compelling despite the occasionally clunky presentation, involving projections and titles describing what’s happening at various moments in the story.

I guess the best way to characterize this play in terms of genre is to call it a “sort of musical”. I say “sort of” in that it doesn’t present itself as a musical initially, so the first time characters start singing, it comes across as somewhat jarring, and the songs aren’t as pervasive as they are in most musicals. I guess you could call it a “play with music”, but the songs do drive the plot when they appear, but they are not as strong an influence as they could be. The music is a mixture of original songs by Anthony Barilla and a few traditional songs and popular songs of the era. It’s well-performed by music director Henry Palkes on piano and cellists Coco Wicks and Ethan Edwards, and the actual singing is good, with varying degrees of vocal quality among the cast, although regardless of vocal power, everyone brings a commendable degree of emotion to their songs. 

The most effective story  line is that of the M. S. St. Louis itself, and especially that of Rosa and Herbert, who are played with strong chemistry and poignancy by Bell and Cummings. Ely also makes the most of her somewhat underwritten role as Susan, although she and Bell probably have the single strongest moment in the show, toward the end. There are also memorable performances from Mayer as the conflicted Captain, and Burke and Conners in a variety of roles each, as well as Hickey and Wethington, also in a variety of roles. Everyone gives their all, and the performances are the highlight of the production.

The show also boasts a strong sense of time and place, well-maintained through the means of Laura Fine Hawkes’s well-realized unit set that suggests the deck of the ship, aided by Barilla’s atmospheric music and sound design, as well as Steve Carmichael’s excellent lighting and Laura Hanson’s detailed costumes. Brian McLelland and Mona Sabau provide memorable projections, as well, even though the use of these projections sometimes lends a “classroom instruction” type of air to the proceedings, as the show occasionally errs in the way of telling rather than showing the plight of its characters. 

Even though I do have some quibbles with the structure and presentation of the story, for the most part I find it poignant, thought-provoking, and effective. Especially considering the strong cast and compelling subject matter, this is a promising new play from Upstream Theater. The Good Ship St. Louis may have a bit of a rough journey at times from a storytelling standpoint, but it’s very much a worthwhile one to see. 

Upstream Theater is presenting The Good Ship St. Louis at the Marcelle Theatre until November 20, 2022

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Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Book by Jennifer Lee
Directed by Michael Grandage
Choreographed by Rob Ashford
The Fox Theatre
November 3, 2022

Caroline Bowman, Lauren Nicole Chapman, and cast of Frozen
Photo by Matthew Murphy
Frozen North American Tour

Frozen has become a household name these days, starting with the hit Disney film, which spawned a sequel, and a Broadway musical that’s enjoyed a popular North American tour. The modern classic tale of magic, the love of family (both biological and found), and overcoming fear has now landed at the Fox, in a production that’s technically stunning to the point that I haven’t seen in a touring production, as well as boasting a strong cast and a memorable score. 

If you’ve seen the movie, you’ll know the plot, although there are a few additions and expansions to the story for the stage version. Still, it’s a fairly faithful translation from screen to stage, centering on a pair of royal sisters. Elsa (Caroline Bowman), the heir to the throne of the fictional kingdom of Arendelle, has magical ice-creation powers that she’s hidden since childhood when she (played as a child by Sydney Elise Russell at the performance I saw) accidentally lost control of her power and injured her younger, non-magical sister, Anna (Aria Kane as a child at my performance, Lauren Nicole Chapman as an adult). The princesses’ parents, King Agnarr (Kyle Lamar Mitchell) and Queen Iduna (Belinda Allyn), are concerned, and after summoning the “hidden folk” led by Pabbie (Tyler Jimenez) to heal Anna and remove her memories of Elsa’s magic, they swear Elsa to secrecy and encourage her to hide her power. Upon their parents’ unexpected death in a shipwreck, the princesses live a reclusive life in the palace until the day arrives for Elsa’s coronation as Queen. The fearful Elsa, who has shunned her sister to protect her, welcomes the public to the palace for the first time in years, which leads to a series of events that changes everyone’s lives and threatens the survival of the kingdom. Along the way, Elsa has to learn what to do with her great power, and she and Anna learn about the power of love–familial for the sisters, but also of the romantic variety for Anna, as she falls quickly for the newly arrived Prince Hans (Will Savarese), while later finding herself drawn to mountain-dwelling ice-seller Kristoff (Dominic Dorset), who helps her look for Elsa after a catastrophic mishap sends the Queen fleeing to the mountains. 

This is a fairly well-structured show, although perhaps a little too much time is given to the prologue, and the finale seems a little bit rushed. Still, it’s a thrilling adventure for the most part, and sure to please fans of the movie. All the well-known characters are here, from the sisters to the mysterious Prince Hans, to the brave and loyal Kristoff and his reindeer friend, Sven (Collin Baja at the performance I saw, aided by a magnificent costume/puppet), and the lovable snowman Olaf (Jeremy Davis, operating a well-realized puppet). The music is familiar as well, with favorites like “Do You Want to Build a Snowman?” and the iconic “Let It Go” joined by a few new songs for the stage. 

The cast is excellent across the board, with memorable performances and an excellent sisterly bond from Bowman as the conflicted, secretive Elsa and Chapman as the energetic, adventurous Anna. While Elsa is prominent in the show, and Bowman shines in her scenes, showing off her powerful vocals on “Let It Go”, in the stage version especially, this comes across more as Anna’s story primarily, and Chapman does a commendable job holding the audience’s attention with her excellent vocals, comic timing, dramatic ability, and dance skills. The young Russell and Kane are also strong as the sisters in the prologue scenes. There are also standout performances from the engaging Dorset as Kristoff, whose scenes with Chapman are a highlight; and Savarese, whose Hans is suitably charming upon his introduction. Davis as Olaf is also a delight, providing comic relief as well as some heartwarming moments without ever going over-the-top. The puppetry, designed by Michael Curry, is stunning here, as well, also lending realism and wonder to the role of Sven, who is acted beautifully by Baja in a fully articulated reindeer outfit. Michael Milkanen also has a notable moment here as shopkeeper Oaken, who leads the bright and hilarious Act 2 opening number “Hygge”. There’s great work from all the players here, and striking, energetic choreography by Rob Ashford that helps move the story along well. 

As good as the cast is, however, the biggest star in this production is the technical wizardry that provides many “ooh” and “ahh” moments in the show. The glorious set and costumes by Christopher Oram and the special effects by Jeremy Chernick are probably the most elaborate and impressive that I have seen in a touring production of any show. Along with the dazzling lighting by Natasha Katz and video design by Finn Ross, these technical elements truly draw the audience into the world of Arendelle, first in the richly appointed castle and then into the awe-inspiring, wintery mountain landscape. It’s a magnificent technical achievement that serves the story well and inspired applause in at least one notable moment later in the show.

Frozen is certainly a crowd-pleaser. It’s also a heartfelt, occasionally thrilling story with a clear message about overcoming fear and the importance of love–not just romantic, but also (and especially) love of family. It’s appealing for all ages, as well.  It’s been a while since I had seen the movie, but the stage version strikes me as an especially fine, successful adaptation. 

Dominic Dorset, Colln Baja
Photo by Matthew Murphy
Frozen North American Tour

The North American Tour of Frozen is running at the Fox Theatre until November 13, 2022

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

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

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

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

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

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

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

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

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

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

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St. Louis Woman
by Joe Hanrahan
Directed by Joe Hanrahan
The Midnight Company
October 9, 2022

The Midnight Company’s latest production, St. Louis Woman, is more of a revue than a play. Written by the company’s artistic director Joe Hanrahan, the show features a dynamic central performance by a talented singer backed by first-rate musicians, and features an illuminating backdrop of projections that illustrate the stories well. The show tells the stories of St. Louis women in music and the arts, with a variety of songs, dancing, and informative narration.

St. Louis Woman is a one-woman show starring locally-based singer/songwriter and cabaret performer LAKA, who narrates the history of women–particularly Black women–in the arts in St. Louis from the late 19th Century until the present day. She starts out telling the stories behind the classic songs “Frankie and Johnny” and W.C. Handy’s “St. Louis Blues”, singing the songs with style and power. Then, the story turns to individual performers and a variety of musical styles, from Willie Mae Ford Smith’s gospel music to the soul and R&B sounds of Fontella Bass and Ann Peebles. There are also sections about dancer and choreographer Katherine Dunham and writer Maya Angelou. The biggest featured segments, however, are those centered around legendary singer and cabaret performer Josephine Baker, and Rock/Pop/R&B icon Tina Turner. The performance is a lesson in history as well as a celebration of the work of these celebrated artists, introduced and performed with memorable and versatile style by LAKA.

The main reason to see this production is undoubtedly its leading performer, as well as the superb backing musicians, music director Corey Patterson on keyboards and Gabe Bonfili on percussion. LAKA is notable for her remarkable versatility as she manages various styles from Jazz, to pop, to gospel, to R&B, to rock n’ roll, with excellent power and presence, managing to sing in the styles of the performers she portrays with expert skill, in marvelous tribute to these legendary performers. Acting-wise, she seems a little more uneasy at times, although she also has moments of excellence, especially in the Tina Turner sequence. 

The show itself is highly informative and fascinating, for the most part, although some of the segments are dragged out a little too much, and sometimes it seems more like a series of disjointed vignettes than a cohesive show. The transitions (in which LAKA changes costumes) can be overly long as well, although the musicians and Michael Musgrave-Perkins’s eye-catching projections do help maintain interest in these moments. Visually, it’s an enjoyable show in terms of those wonderful projections of historical photos, and the detailed costumes by Liz Henning, along with Tony Anselmo’s evocative lighting.

Overall, I would say that St. Louis Woman is an entertaining and informative production, covering the important St. Louis music and art and the women who made an impact on this city, and on the world. Although there are a few rough edges, it’s still a memorable, well-performed production featuring an immensely talented performer. LAKA gives this performance her all, and her voice, versatility, and enthusiasm are great reasons to see this show.

Photo: The Midnight Company

The Midnight Company is presenting St. Louis Woman at the .ZACK Theatre until October 22, 2022 

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by Steven Dietz
Directed by Wayne Salomon
St. Louis Actors’ Studio
October 8, 2022

William Roth, Lizi Watt
Photo by Patrick Huber
St. Louis Actors’ Studio

I’ve sometimes thought that if I were ever to write my memoirs, they would have to be at least partially fictionalized. Since life is rarely as dramatic as literature, at least a little embellishment would be necessary in telling my life story. Also, there are real people involved in my story, and I don’t own their lives, so fudging to protect privacy would also be needed. In addition to these reasons, imagining what could have happened is often easier, more fun, and sometimes less painful than remembering what really happened. These ideas–of truth vs. fiction in telling our stories and those of others we know–are dealt with in intriguing, highly personal detail in Steven Dietz’s relationship drama Fiction, which explores the marriage of two writers who, upon being faced with mortality, are forced to confront their own secrets, mysteries, and realities in their relationship and in their writings. 

The story begins mid-conversation in a café in Paris, where Michael Waterman–played by William Roth, and Linda, played by Lizi Watt–are arguing about music. It’s a conversation that establishes the characters’ personalities to a degree, and we see the good-natured banter and obvious affection between them. Then, the story flashes forward to the present, in which Michael and Linda are both well-known authors who have been married for 20 years. Linda, who lives in the shadow of her more famous husband and the memory of her celebrated first novel, teaches a college writing class. Michael churns out a series of best-selling novels that keep getting made into movies. They have their concerns and regrets, but they know each other well, and they’re happy. That is, they’re happy until Linda gets diagnosed with an aggressive brain tumor and is given just weeks to live. In the midst of the pending grief, Linda tells Michael she wants him to read her journals after she dies, and requests to read his. Michael is hesitant, but eventually agrees, and as they say, the plot thickens, as the years and years of diaries contain secrets that Michael hasn’t told Linda, involving a young woman that he met at a writers’ colony–Abby, played by Bryn McLaughlin. It may appear obvious where this story is going, and in a way, that is where it goes, but in a much bigger way, this story leads back to something less obvious and potentially more devastating. It’s a story that challenges not only the Watermans’ relationship, but also their identities as writers, and the very ideas of truth and fiction in their lives, as these concepts blend together in mysterious and occasionally confusing ways, leading to some startling revelations and a conclusion that brings the story back to where it began, with a degree of resonance concerning what is to come for the young, unwitting couple. 

I’ve seen a few plays by Steven Dietz, and I think this is most well-constructed, although the characters are hard to like at times–especially Michael. Still, Roth manages to infuse him with enough charm that, as blustery and self-important as he can be, I can understand the connection between him and Linda. Linda, for her part, is much more likable at first, and Watt conveys such an earnestness in her portrayal that makes later revelations all the more surprising. It’s a rich, nuanced performance, and the centerpiece of the play. Watt and Roth also display believable chemistry. McLaughlin, in the somewhat mysterious role of Abby, is also excellent, as her motives aren’t made obvious at first. McLaughlin is adept at maintaining the mystery until the necessary reveals, playing well against both Roth and Watt with a believable degree of antagonism mixed, occasionally, with admiration.

The staging by director Wayne Salomon is fairly briskly paced, taking just enough time for the drama to play out credibly and with due poignancy, but without dragging. The set, designed by Patrick Huber, is dark and minimal, with a bit of abstraction represented by the vague scribblings painted on the walls, like the mysterious vagaries of a writer’s mind. Kristi Gunther’s mood-setting lighting adds to the atmosphere of the production, as do Carla Landis Evans’s well-suited costumes. 

Overall, this is a play that holds my attention from the sheer strength of the acting, as well as the well-crafted intrigue of the unfolding mystery that has more layers than may be apparent at the start. It’s a difficult story at times, in terms of trying to figure out where it’s going, but I’m sure that’s deliberate on the playwright’s part, as even the strongest relationships have their difficulties, and their conundrums. Fiction is the title, but there’s much truth here, in the play itself as well as in the first-rate staging and performances. 

William Roth, Bryn McLaughlin, Lizi Watt
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Fiction at the Gaslight Theatre until October 23, 2022

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Private Lives
by Noël Coward
Directed by Meredith McDonough
Repertory Theatre of St. Louis
October 7, 2022

Amanda Pedlow, Stanton Nash
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The latest entry in the Rep’s current season is a classic “comedy of manners” from celebrated British playwright Noël Coward. Private Lives is hilarious look at contrasting relationships, as well as marital expectations among the English upper class in the 1930s. As staged by the Rep, it’s a meticulously orchestrated, highly physical romp that brings a great deal of laughter from the audience, thanks to the superb direction and pitch-perfect cast.

As the old saying goes, some couples can’t seem to live with or without one another. One such couple is former spouses Elyot Chase (Stanton Nash), and Amanda Prynne (Amelia Pedlow), who haven’t seen each other for five years until they suddenly find themselves staying next door in the same French hotel on their honeymoons with their respective new spouses, Sibyl Chase (Kerry Warren) and Victor Prynne (Carman Lacivita). While each professes to be devoted to their new spouse at the beginning of the play, once they see one another again, Elyot and Amanda can’t help but be drawn together, despite their volatile, clashing personalities that eventually led to the breakup of their former marriage. Of course, there is the matter of their current spouses, who haven’t previously met but find themselves having to work together to confront Elyot and Amanda, with potentially explosive results. 

This is a show that’s more about the characters and their interactions than the plot. The plot is fairly simple, in fact, but the relationships are anything but simple, as Elyot and Amanda deal with the intense magnetism that drew them together as well as the intense conflicts that drove them apart, and their new spouses have to contend not only with aspects of their partners that they hadn’t seen before, but with their new acquaintances as well, along with their own burgeoning personality conflict. This is a show that highlights Coward’s famous wit, as well as as the intense chemistry and conflict among lovers. It’s also oh-so-British and oh-so-1930s, with sharp humor, a bright, energetic tone, and a few memorable musical moments featuring memorable period tunes. The atmosphere is impeccably maintained, with a richly detailed set by Lex Liang, marvelous costumes by Kathleen Geldard, excellent lighting by Colin Bills, and superb sound design by Lindsay Jones. 

As for the cast, they are stellar, with sizzing chemistry between Nash and Pedlow as the intense, witty, and emotional Elyot and Amanda. These two bring much energy to their roles, and their chemistry is like that of a classic old film pairing. There’s also excellent work from their co-stars, with Warren hilarious as the needy Sibyl and Lacivita comically bewildered as the more strait-laced Victor. When all four are together, the comic energy is especially strong. There’s also a fine performance by Yvonne Woods in a small role as Parisian maid Louise. 

Overall, this is a show that sparkles with comic intensity and expert direction and pacing. It’s also one of those shows that makes me feel for the stage crew, since the beautifully appointed set isn’t so neatly organized by the time our leads get through with it, and each other. I hadn’t seen Private Lives before, but I’m glad this excellent production has been my introduction. It’s a classic comedy of wit, character, and passion, superbly staged at the Rep. 

Kerry Warren, Amelia Pedlow, Stanton Nash, Carman Lacivita
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Private Lives at COCA’s Catherine B. Berges Theatre until October 23, 2022

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A Little Night Music
Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
October 6, 2022

Jonathan Hey, Paula Stoff Dean
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is honoring the late Stephen Sondheim with a delightfully vibrant production of the composer’s 1973 musical A Little Night Music. Although in his pre-show speech artistic director Gary F. Bell mentioned that this show was planned before Sondheim’s passing, it’s nonetheless a fitting tribute to the celebrated legend of musical theatre to have one of his well-known shows staged with such energy and style. At SDT, this production highlights acting, emotion, and musicality in a memorable and thoroughly entertaining way.

This is the second production of this show I’ve seen this year. The first one, by a local opera company, was also excellent, although SDT’s version seems to emphasize the sensuality and emotion a little more in this tale of entanglements, temptations, and volatile emotions in early 20th Century Sweden. There’s a fairly large cast of characters, but the main focus is famous stage actress Desirée Armfeldt (Paula Stoff Dean) and lawyer Fredrik Egerman (Jonathan Hey), who were once lovers but have been apart for 14 years before being reunited when Fredrik takes his new, much younger wife Anne (Eileen Engel) to one of Desirée’s plays. Anne, who professes to love Fredrik but who still refuses to consummate the marriage, is distraught when it becomes obvious that her husband carries a torch for Desirée, though at first he claims not to know her. Meanwhile, Anne engages in somewhat of a flirtation with Fredrik’s son Henrik (Bryce A. Miller), an earnest young seminary student who tries to suppress his feelings for his young stepmother. Eventually, Desirée arranges to have her mother, Madame Armfeldt (Liz Mischel) invite the Egermans to her country estate for the weekend, and Desirée’s latest paramour, the jealous and self-important Count Carl-Magnus Malcolm (Scott Degitz-Fries), decides to crash the party along with with his neglected wife, Charlotte (Madeline Black), who hatches a plan to make her husband jealous so he will drop the affair with Desirée, who already appears to be tiring of the affair and turning her affections back to Fredrik. Also figuring into the story are Desirée’s young daughter Fredrika (Adeline Perry), who has been living with her grandmother while Desirée tours; Anne’s romantically adventurous maid Petra (Sarah Gene Dowling), and a quintet listed here as the “Liebeslieder Singers” (Cory Anthony, Shannon Lampkin Campbell, Jess McCawley, Kevin O’Briend, and Dawn Schmid), who serve as something of a Greek Chorus, singing songs that offer commentary on the proceedings. 

The plot may seem somewhat convoluted, but it all makes sense in the context of the show, and the subplots weave together with precision. The themes include the volatility of relationships, moral hypocrisy in high society, the fleeting nature of life, and more. It’s a highly melodic show with an Old World atmosphere, and a style that’s obviously influenced by older European musical styles, as well as operetta. There’s comedy ranging from the light and witty to the more risqué, as well as some darker comic moments along with moments of poignancy and romance. The staging here gets the tone just right, with the right balance of wit, energy, and drama, with a superb cast who are all in excellent voice, led by the wonderfully melodic Liebeslieder Singers, who also play other roles in the story as needed. There’s also excellent, waltz-heavy choreography by Michael Hodges that fits well with the mood of the show, along with an excellent small orchestra led by music director Leah Schultz.

As for individual performances, it’s great to see Dean again, who makes a return to SDT after several years, and who shines as Desirée, especially showcasing the character’s wit and strength, also providing a particularly emotional rendition of the show’s most famous song, “Send in the Clowns”. Dean is well-matched by the equally excellent Hey, who is especially adept at showing Fredrik’s vulnerability and progression of awareness through the course of the show. There are also standout performances from Miller as the conflicted, idealistic Henrik and Engel as the also conflicted Anne, who doesn’t seem to know exactly what she wants until suddenly, she does. Mischel is also memorable as the strong-minded but somewhat regretful Madame Armfeldt, and young Perry makes a strong impression as the curious and surprisingly observant Fredrika. Degitz-Fries and Black give fine performances as the Malcolms, as well, as does Dowling in a memorable and well-sung turn as Petra. It’s a strong ensemble all-around, and they do justice to Sondheim’s classic score and Hugh Wheeler’s witty, incisive book.

The show looks wonderful, as well, with gorgeously appointed period costumes by Engel, excellent atmospheric lighting by Tyler Duenow, and a minimal but effective set by Justin Been, consisting of a color-changing backdrop and various furniture pieces as needed. It’s a musical delight from start to finish, and one of the most marvelous shows I’ve seen from the already excellent Stray Dog Theatre. A Little Night Music may not be as well known as some other Sondheim shows, but this production emphasizes its classic, timeless appeal.

Cast of A Little Night Music
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting A Little Night Music at Tower Grove Abbey until October 22, 2022

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As You Like It
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
September 30, 2022

Oliver Bacus, Summer Baer
Photo by Dan Donovan
St. Louis Shakespeare

As You Like It is one of Shakespeare’s better-known comedies. It’s a witty examination of the pastoral life vs. more “sophisticated” court life, as well as a look at the lengths that some people will go to for love. St. Louis Shakespeare’s current production is a gently staged, fun rustic romp that highlights the relationships and features an especially strong leading pair. 

The story is mostly set in the Forest of Arden, a rustic, wooded setting to which young Rosalind (Summer Baer)–daughter of the exiled Duke Senior (Shane Signorino)–flees along with her cousin and BFF Celia (Rhianna Anesa)–after Rosalind is also banished by her usurping uncle, Duke Frederick (also Signorino). So, accompanied by court clown Touchstone (Jacob Cange), the cousins flee in disguise, shortly after Rosalind has had a love-at-first-sight moment with Orlando (Oliver Bacus), who has also been banished from his home by his bitter elder brother, Oliver (John Waller). Orlando also ends up in Arden, where he decorates the local trees with love poems to Rosalind and eventually encounters her again, only this time she’s disguised as Ganymede, a  young man, accompanied by Celia as Ganymede’s sister Aliena. While Rosalind tests Orlando’s affections with witty banter, she (as Ganymede) also gets involved in the romantic dealings of the locals–namely, Silvius (Joey File), a lovesick shepherd who is constantly spurned by the object of his affections, the haughty Phebe (Bethany Miscannon), who to Rosalind’s dismay, becomes enamored of Ganymede. Meanwhile, Touchstone becomes involved with a young country woman named Audrey (Kanisha Kellum), and Duke Senior is found wandering about the forest with a band of followers, including the moody Jaques (Colin Nichols), who offers his curmudgeonly commentary on everything he sees, but becomes amused and fascinated by Touchstone. All the plots eventually weave together in comically convenient ways, leading up to a big, festive conclusion. 

As You Like it is a fun play that I’ve seen staged in various settings, from traditional to more modern. This production is more on the traditional side, with period costumes by Theo Dawson that suit the characters well, and a simple but evocative set by Cris Edwards that adapts well to the change between the court locale at the beginning to the more pastoral setting of the rest of the play. The mood is augmented by Patrick Huber’s lighting design and Jimmy Bernatowicz’s sound design. It’s a fairly laid-back, almost minimalist staging, but it works especially considering the gentle approach to the direction, in which the pacing is more deliberate and not quite as raucous (for the most part) as other productions of this play that I have seen.

The casting is strong, especially for the leads. Baer makes an amiable, enthusiastic Rosalind, and her scenes with the equally excellent Bacus as the earnest Orlando are crackling with chemistry. Baer also works especially well with Anesa, who makes for a likable Celia, and Cange, whose Touchstone is confident, engaging, and boldly comical. Cange has excellent chemistry with all of his castmates, especially Baer and Anesa, along with the hilarious Kellum as Audrey, and the glum Nicholas as Jaques. Other standouts include File in a delightfully physical turn as the lovesick Silvius, as well as Signorino in a commendable dual turn as both Dukes. It’s a strong ensemble, for the most part, with several of the actors playing more than one role, as courtiers, servants, foresters, shepherds, long-lost brothers, etc.

While the tone of this production can sometimes veer into the overly subdued, for the most part, this is a fun and entertaining production of a classic Shakespearean comedy. With an especially strong leading pair, along with a host of other memorable performances, this production is sure to induce much laughter. It’s an As You Like It that has a lot to like. 

Summer Baer, Jacob Cange, Jim Read, Rhianna Anesa
Photo by Dan Donovan
St. Louis Shakespeare

St. Louis Shakespeare is presenting As You Like It at the Robert G. Reim Theatre in Kirkwood until October 2, 2022

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by Gérald Sibleyras, translated by Tom Stoppard
Directed by Robert Ashton
Albion Theatre
September 25, 2022

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

There’s a new theatre company in town, and its first play is an intriguing one. Albion Theatre is focused on works from the British Isles, and occasionally Ireland. Their inaugural production, Heroes, is actually French in origin, but this English translation by one of the UK’s most celebrated playwrights, Tom Stoppard, debuted in a critically-acclaimed run in London’s West End.  As Albion’s first entry in its repertoire, it makes a quiet but strong impression, featuring excellent performances and thoughtful but somewhat slower pacing.

Heroes is classed as a comedy, but it’s not a laugh-a-minute type of show. It’s a more gentle, thoughtful piece, focused more on developing the characters than just getting laughs. It’s also deliberately paced to the point that it forces the audience to pay attention, and can drag in places if not well-paced. For the most part, this production is paced just right. The story follows a trio of French World War I veterans who are living in a retirement home for vets in 1959. They have each been there for a different length of time–Henri (David Wassilak), who lost part of his leg in the war and walks with a can, has been there 25 years; Phillipe, who suffers from period fainting spells due to shrapnel lodged in his head, has been there 10 years; and the semi-reclusive Gustave (Will Shaw), has been there six months, although he seems to see himself as something of the ringleader of the group. The three spend their days on a terrace of the home, passing the time sharing their opinions of the various residents of the home and the nuns who work there, reminiscing and bragging about past romantic exploits, as well as family difficulties, and imagining elaborate trips abroad, even going so far as to plan an escape to see a grove of poplar trees in which Gustave is fascinated. They also share an odd connection to a stone dog sculpture that sits on the terrace, often acting as if it is a real animal. There isn’t much in the way of plot–it’s more of a character study and a meditation on aging. loneliness, and the need for companionship, as well as the changes in society over time and attitudes toward the aging and veterans in particular. It’s clearly a comedy, with a humor that is sometimes subtle, sometimes mildly risqué, and sometimes with hints of darkness, as these three men know their time is limited and are struggling to maintain meaning in their lives. 

The characters are well-drawn and the dialogue is well-constructed. The slower tone of this play requires engaging actors to keep the pace, and this production has found excellent performers. All three work together well, and the interplay between the characters is what makes the story here, with all three inhabiting their characters fully and portraying their quirks, annoyances, and endearing qualities with clarity and intelligence. Shaw as the somewhat bossy but insecure Gustave has memorable presence, and Wassilak as the more practical-minded Henri is also excellent, as is Di Lorenzo as the physically fragile but emotionally energetic Phillipe. All three lend a compelling air to the proceedings, as do their interactions with the one silent cast member, the stone dog statue, credited in the program as “Gérald Le Chien”. 

The dog also contributes to the interest of the play in a different way, as he is frequently being moved around between scenes by assistant director/stage manager Gwynneth Rausch with a hand truck–I wonder how much he weighs. Trying to guess where the dog will end up next contributes to the comic tone of the show. The other technical qualities are also strong, including Brad Slavik’s simple but realistic unit set, Marjorie Williamson’s expert set painting, Nathan Schroeder’s excellent lighting, Tracey Newcombe’s character-appropriate costumes, and Robin Weatherall’s proficient sound design. The overall atmosphere of time and place is well-maintained, working well with the mood and style of the play. 

Overall, while I think Heroes is something of a subdued choice for a debut production from a new theatre company, Albion Theatre has made a strong impression, especially considering the strength of the cast. It’s a thought-provoking show with some truly funny moments, as well as moments of poignancy. I’m looking forward to seeing more productions from this promising new company.

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Heroes at the Kranzberg Black Box Theatre until October 9, 2022

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