Posts Tagged ‘st. louis’

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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Bread and Roses Educates and Informs with Well-Cast, Music-Filled “Brick and a Bible”

Posted in St Louis Theatre, Uncategorized, tagged , , , , , , , , on March 5, 2026| Leave a Comment »

A Brick and a Bible
by Kathryn Bentley & Colin McLaughlin
Original Music by Alicia Revé Like and Anita Jackson
Directed by Rayme Cornell
Bread and Roses Missouri
February 28, 2026

Cast of A Brick and a Bible
Photo by Studio Kay
Bread and Roses Missouri

Bread and Roses Missouri is presenting a fascinating production in various venues around St. Louis, having started at the Missouri History Museum, which is fitting since it centers around an important but not necessarily well-known moment in the life of our city. A Brick and a Bible focuses on a Depression-era workers’ strike that called attention to class struggles, racial divides, and institutionalized racism and sexism. This production sets the tone in a very historically “St. Louis” way, with Jazz and Blues music to underscore the movement led by a group of determined Black women. It’s not a long play, but it’s educational, informative, and strikes me especially as a show than can be toured.

Set in 1932 in the midst of the Great Depression, the story focuses on a group of workers at a nut factory, fighting for better working conditions and equal pay for Black women workers. The Funsten Nut Strike was eventually joined by more workers–including white women–and supported by Black churches as well as the Communist party, who historically supported various workers’ strikes and causes. The leaders, though, were a group of Black working-class women who were determined to make life better for their fellow workers. The central character is Elizabeth (Christina Yancy), a scholarly, church-going young woman who has taken a job at the factory to help support her family. She is contrasted with Delores (Thomasina Clarke), Elizabeth’s co-worker who helps bring the local Communist party into the cause, and who is good friends with Elizabeth despite their differences in faith and philosophy. As the initially reluctant Elizabeth is brought into the workers’ rights movement, she also struggles with the expectations of her academic mentor, Ms. Leonard (Alexandra Jay), who encourages Elizabeth to “find her voice” but also isn’t sure about how the young women chooses to be involved.

The rest of the characters are other leaders and participants in the strike, including Carrie Smith (LaWanda Jackson), Cora Lewis (also Jay), and Communist party representative Bill Setner (Ryan Lawson-Maeske). There’s also a “chorus” of singers (Adrienne Spann, Hassie Davis, Joshua Mayfield) who narrate and comment on the action, as well as playing other characters in the story as needed. The music, by Alicia Revé Like with additions by music director Anita Jackson, is rooted in the jazz and blues styles of 1930s St. Louis, as well as some Gospel influences, reflective of the deep faith and church involvement of many of the characters. The overall atmosphere and setting are well-realized by means of an excellent set by Laura Skroska that features a backdrop of news headlines of the day, along with striking lighting by Theresa Comstock and excellent sound design by Ahsa-Ti Nu. The costumes by Shevaré Perry also add an authentic air to the story, and the music is also memorable, played with skill and emotion by musicians Gregg Haynes and Willem Von Hombracht. 

The players are impressive all around, led by the charismatic and relatable Yancy as Elizabeth, Clarke as the sharp-witted and determined Delores, and Jay as the inspiring and occasionally bewildered Ms. Lewis. The rest of the cast is also excellent, with strong voices from the chorus and the rest of the players occasionally joining in the singing. This isn’t a musical, exactly, but more a play that uses music as something of a backdrop and commentary on the action.

Another striking aspect of this production is its portability. Though it opened at the Missouri History Museum, it played its second weekend at the Metro Theatre Company space in Midtown, which is where I saw it. It will be playing one more weekend at St. Stephen’s & The Vine Episcopal Church in Ferguson. This strikes me as the type of show that could fairly easily be toured to various venues, although I recommend checking it out while you can. A Brick and a Bible is a show that highlights an aspect of St. Louis History that many might not know. It’s a well-paced, intriguing and riveting tale. 

Bread and Roses Missouri will be presenting A Brick and a Bible at St. Stephen’s & The Vine Episcopal Church on March 7-8, 2026

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WEPG’s “The Children” Features Memorable Acting, Thought-Provoking Script

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

The Children
by Lucy Kirkwood
Directed by Jennie Brick
West End Players Guild
February 13, 2026

Tom Kopp, Bethany Barr, Jenni Ryan
Photo by John Lamb
West End Players Guild

West End Players Guild is starting a new year, and a new season, with a fascinating production of British playwright Lucy Kirkwood’s thoughtfully scripted play, The Children, directed by Jennie Brick. Featuring humor, drama, and thought-provoking timely topics, this production makes the most of its intimate performance venue. It also serves as an ideal showcase for a well-chosen and talented cast. 

The play runs 90 minutes with no intermission, and the story is essentially set in “real time” right after Rose (Jenni Ryan) has arrived after a long absence to visit her old friends and former co-workers Hazel (Bethany Barr) and Robin (Tom Kopp), who are now long-married and still live in the area near a nuclear power plant where the three all worked as engineers almost four decades previously. As Rose and Bethany catch up after years of separation and Rose’s long sojourn in the USA, it soon becomes clear that there has been a major crisis recently, involving the power plant. When they are joined by Robin, we learn more about personal secrets that have been kept, and about the complicated but close relationships among the three, and eventually about the real reason for Rose’s visit, which further unsettles Hazel especially. The contrast in personalities between the three–the worldly, seemingly independent Rose, the more “responsible” Hazel, and the personable but somewhat enigmatic Robin–makes for much of the drama here. Through the course of their reunion, we see their shifting relationship dynamics as well as the situation of the world in which they live, and their connections to the people around them, including family, friends, and the world at large. The crisis caused by the nuclear accident has repercussions that affect all three in various ways, as do the conflicting feelings stirred by the surprise reunion. 

This is an intelligent, thoughtful script with especially well-drawn characters, brought to life with dynamic veracity in the excellent performances of the three actors as well as Brick’s well-paced direction. The interactions between the characters are especially believable as played with palpable presence and energy by Ryan as the determined and somewhat mysterious Rose, Kopp as the personable but secretive Robin, and Barr as the devoted, family-minded Hazel. All three are excellent, bringing the audience on a journey of reflection, personal connection and conflict, nostalgia, and both personal and community responsibility. As the story plays out, the sense of these three as old friends who once meant a lot to one another but are now facing some real challenges becomes especially clear and relatable. As the characters reminisce, argue, share a meal, drink, and dance amid their reactions to the situation in which they find themselves, there’s a very evident sense of a “lived in” world and relationships. 

This mood and the English seaside setting are well maintained by means of a well-appointed set decorated by Margan Maul-Smith painted by Jessa Knust and Karen Pierce, and built by master carpenter Jacob Winslow and carpenters Tara Jackson, Nik Winslow, and Finley Winslow. There are also well-suited costumes by the cast and Joanne Stuart, and memorable lighting and sound by John “JT’ Taylor and props by Maul-Smith. There’s also notable work by fight and intimacy coordinator Douglas Klein, dialect coach Jeff Cummings, choreographer Hermione Duane, and music consultant Brian Brick. 

Amid all the relationship drama and personality conflicts, there’s an underlying sense of affection here amid the characters, as well as an overarching sense of aging and responsibility to younger generations. The Children is a play that I hadn’t heard of before, and its made an especially strong impression. It’s a profoundly thought-provoking work, and a fantastic showcase for three remarkable performers who work together to form a truly memorable ensemble. 

Jenni Ryan, Tom Kopp, Bethany Barr
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting The Children at Union Avenue Christian Church until February 22, 2026

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

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

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

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

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

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

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

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

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Music, Movement, and Empathy Feature Strongly in the Black Rep’s Well-Cast “Black Feminist Guide”

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

The Black Feminist Guide to the Human Body
by Lisa B Thompson
Directed by Kathryn Ervin
The Black Rep
February 7, 2026

The Black Rep’s reputation for excellent, thought-provoking theatre continues with their latest production, the movement-and-music rich The Black Feminist Guide to the Human Body. I’m not sure exactly what I was expecting when I first went into this play, but the result was an immersive and intensive exercise in empathy, highlighted by well-paced staging and a strong cast. It’s a celebration of culture and humanity, and although it is aimed primarily at Black women and girls,  it features several subjects to which many in the audience will be able to relate regardless of background, as well as providing cultural insight and facilitating education and empathy. 

The story is really more of a presentation than a plot, as college professor Beatrice “Bea” Free (Velma Austin) works in her home office on a book she’s calling by the same name as the play. She is accompanied by two characters who represent aspects of herself–Cee (Janelle Grace), who represents the body, and Dee Dee (Ricki Franklin), who represents the soul, while Bea herself represents the mind. Bea’s presentation basically tells her own life story and experiences while also emphasizing the importance of various issues that confront Black women from childhood to adulthood, including physical health, dealing with prejudice and the treatment of the wider world, cultural development, and perhaps especially, aging and the issues that particularly effect Black women as they grow older. There are segments about body types, hair, secrets and forgiveness, healthcare challenges particular to Black women, and more. 

The form of the show is more like performance art, with dialogue augmented with dance sequences, recitations, and singing, covering various styles and formats. There’s even a degree of audience participation, as the performers invite viewers up to dance with them, and encourage Black women to contribute their stories on paper. It’s an engaging, entertaining, and heartfelt production, with much to think about and learn. The cast, led by the always excellent Black Rep veteran Austin as Bea, and with strong support from Franklin and Grace. All three work well as a team, carrying the story and message with energy and emotion. The musical elements and movement are also especially memorable, with strong work from composers Dr. Guthrie P. Ramsey and Wayv Wilson, and impressive choreography by Heather Beal.

The set by Reiko Huffman is striking and, along with Denisse Chavez’s lighting and Ahsa-Ti Nu’s sound design and props by Taijha Silas, helps set and maintain the mood and vibe of the story. There’s also fine work from costume designer Marissa Perry. 

Overall, The Black Feminist Guide to the Human Body is a fascinating, well-performed work that has much to say for Black women and girls, as well as others in the audience who will be given an insightful look into this specific perspective. It’s a celebration of culture and experience, as well as a lesson in empathy and understanding. It’s an intriguing and memorable evening of theatre. 

The Black Rep is presenting The Black Feminist Guide to the Human Body at Wash U’s A. E. Hotchner Studio Theatre until March 1, 2026

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Kindness, Connection, and Community Highlight Heartwarming “Primary Trust” at the Rep

Posted in St Louis Theatre, tagged , , , , , on February 12, 2026| Leave a Comment »

Primary Trust
by Eboni Booth
Directed by Tyrone Phillips
Repertory Theatre of St. Louis
February 6, 2026

Ronald L. Conner, Gregory Fenner, Alan Knoll
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis’s latest production is a profound theatrical experience. There’s no other way to say it. Primary Trust, the Pulitzer Prize-winning play by Eboni Booth, is being given an artfully crafted, impeccably acted, and expertly designed production at the Rep, thoughtfully directed by Tyrone Phillips and featuring a truly stellar leading performance. It’s a timely play that speaks a lot to issues of connection, community, mental health, and overall kindness and understanding. 

This is a story that wears its emotion on its sleeve, as 38-year-old Kenneth (Gregory Fenner) narrates the story of his life and daily routine, set in the fictional Rochester suburb of Cranberry, New York. Kenneth tries to keep the mood upbeat as he talks about his relationship with his mother, who died when he was young, and his longtime job at a bookstore run by the friendly Sam (Alan Knoll), and his daily visits to Happy Hour at local tiki bar Wally’s, where a succession of waiters (all played by Kierra Bunch) greet him and serve their signature Mai Tai cocktails. He seems relatively satisfied with his routine of working and hanging out at Wally’s with his best friend, Bert (Ronald L. Conner)–who isn’t exactly what you might think. Soon, events transpire which push Kenneth out of his comfort zone, as he finds himself needing a new job and friendly new Wally’s server Corinna (Bunch) suggests he apply at a local bank, Primary Trust, that’s in need of tellers. Kenneth is nervous in the interview, but the bank manager, Clay (Knoll) takes a liking to him, and Kenneth soon finds himself in a rapidly changing new environment where he discovers new talents and interests and has to face some uncomfortable truths about himself and the routine to which he had been accustomed. 

The tone of the show is largely comic, but with a strong undercurrent of pathos, as Kenneth deals with anxiety, loneliness, and an increasingly obvious need for connection and understanding. Kenneth is the show’s center and heart, with the characters around him representing a sense of welcome and kindness that he obviously needs. It’s a thoughtful, brilliantly scripted and characterized ode to the increasingly common crisis of connection in modern society, as well as touching on issues of mental health, found family and a need for a sense of purpose in life. 

The cast is first-rate, led by a truly remarkable portrayal by Fenner of the likable, insistently upbeat but struggling Kenneth. Fenner brings an amiable relatability and palpable sense of urgency to Kenneth as he navigates the rapidly changing realities of his world. There’s humor, sensitivity, and warmth to Fenner’s performance. The rest of the cast lends excellent support, with special kudos to Bunch for portraying a wide variety of waiters and bank customers with impressive versatility, as well as the personable Corinna. Knoll is also strong as important “boss” characters Sam and Clay, and Conner makes a great “sounding board” for Kenneth as the supportive Bert.  There’s also excellent musical accompaniment from composer and onstage musician Jermaine Manor.

The world of the play is meticulously crafted and presented through means of the whimsical and creative set by Sotirios Livaditis, cleverly representing the “upside down town” that Kenneth inhabits, especially at first. There’s also excellent work from lighting designer Jason Lynch and sound designer Connor Wang in maintaining the overall atmosphere of the story. The costumes by Shevaré Perry are also well-suited to the characters and tone of the production. 

The Rep has had an excellent season so far, but this is my favorite of their mainstage shows. Primary Trust is such an insightful, well-scripted, and ultimately uplifting show. I can see why it won a Pulitzer Prize. And at the Rep, the casting–and especially the fantastic Fenner–couldn’t be better. This is a play not to be missed.

Gregory Fenner, Ronald L. Conner, Kierra Bunch
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Primary Trust until March 1, 2026

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