Posts Tagged ‘st. louis actors studio’

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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Local Actors’ Shine in STLAS’s Provocative “Doll’s House pt 2”

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

A Doll’s House, Part 2
by Lucas Hnath
Directed by Kelley Weber
St. Louis Actors’ Studio
February 8, 2026

Teresa Doggett, Julie Layton
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio’s very name features two elements that are especially prominent in the casting of their latest production, Lucas Hnath’s A Doll’s House, Part 2, directed by Kelley Weber. Those elements are “actors” and “St. Louis”, considering the entire cast is made up of notable performers known for their work on the St. Louis stage, and their acting is highlighted particularly well here, in this contemporary sequel to the much performed, talked about, and studied Henrik Ibsen classic, A Doll’s House. Although all the elements of this production are strong, the acting is the highlight, bringing much insight into the characters, their situations, and the issues that this play and its earlier source have raised. 

Nora Helmer (Julie Layton) is famous in dramatic history for walking out a door at the end of A Doll’s House, into an uncertain future for the character and lots of discussion and debate for audiences, readers, and scholars over the last century and a half. This play explores the idea of what would happen if Nora came back, and what effect her return would have on those most impacted by her exit, including her husband, bank manager Torvald (Michael James Reed), and her daughter, Emmy (Claire Coffey), who was a very young child when Nora left. Now, it’s 15 years later, Emmy has grown up and has goals of her own, and Torvald is still feeling the effects of Nora’s exit. There’s also Anne Marie (Teresa Doggett), the Helmers’ housekeeper, who practically raised Nora and, subsequently, Nora’s children. Nora, who has an urgent reason to see Torvald, is hoping to deal with matters quickly and return to the new life she’s built in her time away, but she’s not entirely  ready for the reaction she receives upon her return. Even though she wasn’t expecting a warm welcome, what she does receive is the realization of the impact of her decision, upon her children, the neighborhood, Anne Marie, and especially  Torvald.

The discussions between Nora and the other characters, and particularly between her and Torvald, form much of the drama here. Although the tone is largely darkly comic, there is a great deal of emotion, as well as thought-provoking discussions on the roles of women in society at the time, Nora’s hopes for the future, and the very nature of marriage and what it means to both men and women. The contrasting personalities of Nora and the adult Emmy also provide much to think about, as the two share both profound similarities as well as important differences. Anne Marie also provides much of the emotion and reflection here, as well.

The casting is excellent across the board, and the chemistry and energy between Layton’s Nora and Reed’s Torvald is alone worth the time and cost of admission. Both performers exhibit strong stage presence and emotional energy, from Layton’s determined and idealistic Nora to Reed’s stubborn and scarred Torvald. These two are conducting a master class here, with intense physicality and expression as well. Doggett is also fantastic in an alternately comic and sympathetic performance as the protective Anne Marie. Coffey as Emmy rounds out the cast with a strong characterization that convincingly challenges Nora’s confidence. All four are at the top of their game, and director Weber’s dynamic staging utilizes their talented with remarkable effect.

The look and atmosphere of the play are well maintain by means of Patrick Huber’s detailed but somewhat minimal set, depicting the Helmers’ house as still bearing the effects of Nora’s absence. Huber’s lighting is also excellent, as are the props and sound by STLAS. Doggett’s costumes are stunning, as well, fitting the characters and time period with appropriate style and flair. 

A Doll’s House, Part 2 has a lot to say, and I imagine it will provoke a lot of discussion about the characters and the issues raised, and how it fares as a believable sequel to Ibsen’s classic. I think it works especially well as a showcase for actors, and the actors here don’t disappoint. This is a play for lovers of theatre both classic and modern, and most of all, for appreciators of excellent acting. It’s a tour-de-force all around. 

Julie Layton, Michael James Reed
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting A Doll’s House, Part 2 at the Gaslight Theater

until February 22, 2026

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STLAS’s “Search for Signs” Finds Energy and Heart in Excellent Solo Performance

Posted in St Louis Theatre, tagged , , , , , , , on November 13, 2025| Leave a Comment »

The Search for Signs of Intelligent Life in the Universe
by Jane Wagner
Directed by Wayne Salomon
St. Louis Actors’ Studio
November 7, 2025

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

The Search for Signs of Intelligent Life in the Universe started out as a celebrated Broadway showcase for famed television star Lily Tomlin. Debuting in 1985 and written by Tomlin’s longtime partner/collaborator and now wife Jane Wagner, the show received excellent reviews and won awards for both Tomlin and Wagner. At St. Louis Actors’ Studio, this show is being staged now with a celebrated local performer as its headliner,  featuring the remarkably versatile talents of Michelle Hand, under the strong direction of Wayne Salomon, it’s fairly easy to forget this show was written with a different star in mind. Although there are certainly dated references that tie it to its original time, Hand makes the role her own and brings out the sensitivity and humor of the cleverly constructed script.

Playing a variety of characters in a series of cleverly interconnected vignettes, Hand is a marvel of comic and dramatic versatility. Introducing the show as upbeat New York City “bag lady” Trudy, she introduces the theme, as Trudy lets the audience in on a little expedition in which she is involved, escorting a group of unseen extraterrestrials on a step of their cosmic mission to find evidence of intelligent life. As Trudy recounts her exploits, we get to meet a series of other NYC denizens of various classes, ages, and stations in life, from the teenage Agnus Angst, to upscale socialite Kate, to ditzy Chrissy, to opinionated “working girls” Brandi and Tina, to a trio of feminist friends–Lyn, Edie, and Marge–as Lyn reminisces about their friendship, lives, and activism at a pivotal moment in her life.

The setting is primarily the mid-1980s, and the show reflects this setting in both subject matter and format, often reminding me of a television sketch show, and some references I had to look up, because although I was a teenager in 1985, a lot has happened in terms of trends and attitudes since then. I imagine younger audiences might have a bit of a struggle understanding some references, although the general themes here are still relatable, featuring timeless themes like finding one’s purpose in life, the goals and roles of women, friendship, parent-child relationships, and more.

The language is sharp and engaging, and the plots are cleverly woven together, but what especially makes this show work is its star. Hand is simply brilliant, likable, and convincing, adept at both comedy and drama, and able to present the various distinct characters convincingly. I’m especially impressed by how Hand is able to conduct conversations between characters and switch roles seamlessly, as well as projecting a strong likable presence across the board, with all the characters but especially in the two most prominent portrayals, the eccentric Trudy and the conflicted but still hopeful Lyn. It’s a tour-de-force for the consistently excellent Hand, who is already a consistent, award-winning performer so I was expecting a strong performance, and she certainly delivers. 

The technical aspects of this show are almost deceptively simple, but work especially well in highlighting Hand’s fantastic performance. Patrick Huber’s simple set and colorful lighting, along with Andy Cross’s vibrant scenic painting provide an ideal backdrop for the story. There’s also strong work from costume designer Meredith LaBounty, who provides a simple but memorable outfit for Hand, along with some fun accessories.  The show works especially well in STLAS’s smaller space at the Gaslight Theatre, even more bringing Hand’s talents to the forefront.

The Search for Signs of Intelligent Life in the Universe is a show I had heard of before, but had associated primarily with Lily Tomlin. This thoughtful production at St. Louis Actors’ Studio has changed that association for me, or at least added to it. Michelle Hand is an ideal lead, and her performance is well worth seeing. I think people who remember New York in the 1970’s and 80’s might especially enjoy the show, although younger audiences will have Hand’s superb performance to enjoy, and just might get a useful history lesson. 

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

St. Louis Actors’ Studio is presenting The Search for Signs of Intelligent Life in the Universe at the Gaslight Theater until November 23, 2025

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Trust, Control, and Satire Feature in STLAS’s Intriguing New LaBute Festival

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , , , , , on July 19, 2025| Leave a Comment »

11th Annual LaBute New Theater Festival
St. Louis Actors’ Studio
July 13, 2025

It’s Festival time again for STLAS. Their Annual LaBute New Theater Festival, named for playwright Neil LaBute, is now in its 11th edition, with a selection of plays in which the prime issues seem to revolve around personal relationships and trust, as well as challenging societal structures, with a trend toward the sharply satirical in at least half of the shows presented here. As always, it’s an intriguing showcase for the works of largely lesser-known playwrights, providing memorable roles for talented local performers. 

While the writers are different for each play, the works are helmed by two directors, each taking three plays, and with six actors (Maclean Blanner, Claire Coffey, Tyler Crandall, Xander Huber, Reagain Posey-Mank, and Sarah Wilkinson) taking various roles as the shows demand. The technical team is consistent throughout, with sets and lighting by Patrick Huber, props by Emma Glose, costumes and wigs by Abby Pastorello, and sound by STLAS.

The background set is essentially the same as it has been at past festivals–a dark gray back wall with a recessed area in center, and with each play’s title and author projected at the beginning. It’s a format that has worked for STLAS consistently for this festival, and it works well this year, too, allowing a sort of “blank canvas” for the directors and designers to build their shows’ “worlds” as needed. 

Here are a few thoughts about the individual plays:

“TEOTWAWKI”
by Aleks Merilo
Directed by Bryn McLaughlin

Sarah Wilkinson
Photo by Patrick Huber
St. Louis Actors’ Studio

It’s the end of the world as we know it (that’s what the title stands for), and Wilkinson is sitting alone beside a ham radio setup, sending a broadcast out into the ether, hoping someone will hear. Apparently there has been some cataclysmic event, and Wilkinson is looking to see if anyone else is out there. Her pleas are passionate, even desperate, but what is really going on here? I can’t say much else, because that would spoil it, but I will say that there’s a lot to think about here, and Wilkinson gives a truly fantastic performance. There’s also fine support from Crandall, Huber, and Posey-Mank in smaller roles, but Wilkinson is star here. It’s a bold start for this year’s collection of shows. 

“Poor Me”
by Tracy Carns
Directed by Bryn McLaughlin

Former roommates have a spat. That’s the “easy” way to describe this play, but there’s a lot more going on here than just an argument. Tad (Huber) is apparently the son of the landlord of the apartment building, and he’s married and moved out of the unit that is still being occupied by Cleo (Claire Coffey), a struggling artist. The ongoing struggle between “haves” and “have-nots” is addressed here, as well as issues of personal loyalties and independence. The dialogue is sharp and characters well-drawn, with strong performances from both players here, with Coffey’s stubbornly insistent Cleo especially memorable. 

“Hungry Women”
By Melissa Maney
Directed by Avery Harrison

Megan Posey-Mank, Maclean Blanner, Claire Coffey
Photo by Patrick Huber
St. Louis Actors’ Studio

This play is the most elaborate and pointed of this year’s offerings, with strong costume design and use of lighting, as well as a message that provides much to talk and think about. Subject-wise, this is more in the “extreme” satirical category, as a group women in what appears to be the 19th Century ponder their existence after an event of some sort that has killed all the men in their town, and potentially elsewhere. Each of these women–Eden (Posey-Mank), Mary (Blanner), Ruth (Coffey), and Vic (Wilkinson)–have seemingly different reactions at first, but the bold, brash Vic encourages a radical solution to their dilemma at which the others initially balk. I’m not going to say much else, other than that the title seems to have a multi-layered meaning. The performances are enthusiastic and excellent here, with strong chemistry among the actors, and the issues raised here are certainly worth talking about, even it if does seem to major more on shock value. Still, there are important issues to discuss that are raised here, and I’m guessing this will be the most talked-about show of the festival, which I guess is the overall point. 

“A Modest Proposal”
by David MacGregor
Directed by Avery Harrison

After the first part of the festival has closed with a “shocking” satire, the second part begins with another one, with a title that alludes to a famous satirical work by Jonathan Swift. As shocking and confrontational as that work was in its time (and now), this story has a similar approach, even though the “dilemma” and “solution” offered are different. Here, we see two corporate executives–CFO Posey-Mank and CEO Crandall–bemoaning all the various proposals they’ve been reviewing from a stream of consultants all offering variations on the same ideas, until a new consultant, Wilkinson, enters with a radical idea that shocks them at first, but soon exposes their own greed and selfishness and real sense of priorities. It’s a sharp skewering of corporate culture and greed, and all three performers do an excellent job with their characterizations and the overall tone of the story, although the corporate types portrayed here are kind of one-dimensional and therefore “easy targets”.

“Carpool”
by Dave Carley
Directed by Avery Harrison

This is a very short play, but it’s fun. Here, we have three white-collar office workers (Coffey, Huber, and Blanner) carpooling to work on a succession of days, with the road projected in the background to maintain the sense of movement. The banter between the characters, and the contrasting personalities adds to the comedy, as do the literary and theatrical references that may be noticed by those familiar with the works of T.S. Eliot and Samuel Beckett. This one comes across more as a sketch than a play, but it’s fun nonetheless, with strong performances and crisp comic timing all around. 

“Scenes From a Bookstore”
by Neil LaBute
Directed by Neil Labute

Tyler Crandall, Maclean Blanner
Photo by Patrick Huber
St. Louis Actors’ Studio

This work, by the festival’s namesake LaBute, is perhaps the playwright’s best work for the festival to date, at least in my mind. Many of LaBute’s past entries have come across more as scenes or acting exercises than plays, but this one has a story and genuine plot movement, with characters that come across as well-drawn and memorable. The characters are listed in the program as Him (Crandall), Her (Blanner), and She (Coffey), but one of them (importantly, I think) does have a name. This is a somewhat clever variation on the rom-com “meet cute” trope, but it also examines the repercussions of such an encounter when one or both of the parties involved is already in a committed relationship. As Crandall and Blanner–whose characters have apparently been previously involved–are reacquainted in a chance encounter at a bookstore and then later seem to regularly bump into each other again, we later are introduced to the man’s wife, Coffey, who soon begins to have her own suspicions. I think it’s clear here with whom we are supposed to sympathize most (the one who has a name), and I certainly do. It’s a clever exploration of relationships and expectations, and all three players are excellent. In my mind, this is most successful and fully-formed show of this year’s collection.

St. Louis Actors’ Studio is presenting The 11th Annual LaBute New Theater Festival at the Gaslight Theater until July 27, 2025

 

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“With” Takes a Rough and Compelling Look at a Couple in Crisis at STLAS

Posted in St Louis Theatre, tagged , , , , , on April 14, 2025| Leave a Comment »

With
by Carter W. Lewis
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
April 6, 2025

Whit Reichert, Donna Weinsting
Photo by Patrick Huber
St. Louis Actors’ Studio

Carter W. Lewis is a gifted, thoughtful playwright who has already had two short plays performed at St. Louis Actors’ Studio as part of their LaBute New Theater Festival, with one of these, “Percentage America” winning a St. Louis Theater Circle Award for Best New Play in 2018 (tied with SATE’s First Impressions). Now, STLAS is presenting their first production of a full-length play by Lewis, the compelling, tragicomic With. This in-depth look at a long-married couple in crisis is a terrific showcase for two tour-de-force performances by two veteran local performers, and although it’s a relatively short play, it takes on quite an emotional journey with these two memorable characters. 

This is somewhat of a difficult play to describe, since the unfolding story could be too easily spoiled, and it’s best to find out what’s happening as it happens. The set-up involved Minnie (Donna Weinsting) and Clifford Habberdeen (Whit Reichert), a loving but bickering married couple who are both experiencing health crises–physical for Minnie (a cancer diagnosis) and mental for Clifford (dementia). They’re enduring a hard winter in the house they’ve lived in for decades, and over the course of the show, they reflect on their life together, their relationship with their estranged adult son, and their plans for the future. As the story goes on, it becomes clear that there are secrets being kept, and Minnie especially seems to be taking advantage of Clifford’s memory lapses for what she seems to believe is his own good. They are one of those “can’t live with them, can’t live without them” sort of couples, and the increasing urgency makes their interdependency become all the more obvious as the winter rages on and decisions need to be made.

The story is especially well constructed, with elements that are mentioned in passing becoming more important later on, and the characters being especially well-drawn, with their relationship being especially realistic. The ups and downs in this couple’s relationship are especially credible, as is their undeniable bond and chemistry, which is especially well played by the remarkable Reichert and Weinsting. Both are strong actors, and I’ve seen them both in many plays in the past, and this is an astounding achievement for both. The fastidious, cranky Clifford and the insistent, anxious Minnie are made memorable by these two extraordinary performers. The humor, drama, intensity, and urgency all comes across along with the clear sense of love these characters share. It’s a journey that can be quite harrowing at times, and these two take the audience along for the ride without missing a beat.

The technical aspects of the productions are also excellent, with the meticulously detailed set by Patrick Huber, along with Huber’s fantastic atmospheric lighting create a compelling world in which these characters live. There’s also excellent work from costume designer Teresa Doggett, and props and sound designer Emma Glose. I’m constantly amazed at how well this company is able to use their small performance space, and this play is another excellent example. 

With is a challenging, thought-provoking play and an astute character study. There’s a lot going on here, and a lot to think and talk about. It’s also an exemplary showcase for two fantastic performers at the top of their game. There’s one more weekend to catch it, and I highly recommend checking it out. 

Whit Reichert, Donna Weinsting
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting With at the Gaslight Theater until April 20, 2025

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STLAS Does Justice to a Much-Studied Masterpiece with Riveting “Long Day’s Journey”

Posted in St Louis Theatre, tagged , , , , , on February 21, 2025| Leave a Comment »

Long Day’s Journey Into Night
by Eugene O’Neill
Directed by Austin Pendleton
St. Louis Actors’ Studio
February 16, 2024

Meghan Baker, William Roth, Dustin Petrillo, Joel Moses
Photo by Patrick Huber
St. Louis Actors’ Studio

Long Day’s Journey Into Night has a legendary pedigree. It’s considered the magnum opus of one of the most celebrated playwrights of the 20th Century, and it’s been performed and studied at many levels. I read it in high school but hadn’t seen a live performance until this current production from St. Louis Actors’ Studio, which–as directed by celebrated actor and director Austin Pendleton–has proven to be a riveting, ideally cast production that shows just how powerful and profound this play can be. 

Seeing this production, I can see how this play can be seen as such a challenge. The story, openly based on O’Neill’s own life and family, can easily come across as talky and slow if not directed well, but thankfully this production has an ideal director and a stellar cast. The title refers to the fact that the action takes place over one long day, at the summer home of the Tyrone family in 1912. Here, patriarch James Tyrone (William Roth), a celebrated actor who has spent a large part of his career touring in one role, has gathered with his wife, Mary (Meghan Baker) and two sons.  The elder son, the somewhat profligate Jamie (Joel Moses), is also an actor; and the younger son, Edmund (Dustin Petrillo) is an aspiring writer who is suffering from an ailment that the family fears could be consumption (now called tuberculosis). Father and sons are on eggshells around Mary, who has recently returned from a sanitarium to treat her morphine addiction, and Mary herself is in denial about Edmund’s condition, while the sons deal with living up to their parents’ expectations and James’s persistent stinginess, and both James and Mary deal with past regrets regarding James’s career decisions, the loss of a child, and Mary’s remembrances of her life and aspirations attending a convent school before she met James. There’s a lot of reflection, regret, and conflict here, as we also get to see as Edmund has become something of the “last hope” for his family, although that idea is shown more than it’s spoken.

This is a long play, and there’s not much in the way of “action”, although a lot happens in terms of the balance in the relationships and revelations regarding the characters. The pacing is crucial, considering the length of the play, and the performances here give weight to O’Neill’s reflective and intelligent script. The characters are cast well, with each performer given moments to shine, led by Baker’s heartbreakingly convincing portrayal of Mary, who displays a vivid and convincing range of emotions and works well with Roth’s more matter-of-fact James, whose emotions come out more in the play’s last act, along with hints of an Irish brogue that work well to reveal his character’s loss of control while still trying hard to maintain it. Moses and Petrillo are also convincing as the brothers, with Moses credibly portraying the cynical, hard-drinking Jamie and Petrillo embodying Edmund’s talent and ambition along with his concern for his family and personal doubts. Bridgette Bassa also turns in a fine supporting performance as the family’s Irish servant, Cathleen. The drama and emotion here comes largely from the powerful and believable interactions among the characters, with all five players contributing the building sense of urgency and tension as the play goes on.

The mood and atmosphere of the play are also well-realized by means of Patrick Huber’s evocative minimalist set and excellent lighting design, as well as Kristi Gunther’s strong sound design. Teresa Doggett’s costumes are meticulously detailed and suit the characters well, and there’s also excellent work from props designer Emma Glose.  All of these elements work together seamlessly to achieve a convincing dramatic tone and period setting.

Long Day’s Journey Into Night is a much written and talked-about masterpiece, and this production from STLAS and director Austin Pendleton make it easy to see why this play is so lauded. There are many layers of depth in the story, the characters, and the relationships, and a convincing theatrical atmosphere as well. It’s a masterpiece not only for O’Neill, but also for St. Louis Actors’ Studio.

Meghan Baker, Bridgette Bassa
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Long Day’s Journey Into Night at the Gaslight Theater until February 23, 2024

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STLAS Highlights Communication, Connection in Latest LaBute Festival

Posted in St Louis Theatre, tagged , , , , , , , , , , , on July 18, 2024| Leave a Comment »

10th Annual LaBute New Theater Festival
St. Louis Actors’ Studio
July 13, 2024

It’s that time again for St. Louis Actors’ Studio. For this local company, summer means the LaBute New Theater Festival, now in its tenth installment. This latest edition highlights themes of personal connection and communication, with an especially strong set of plays featuring memorable performances and strong technical elements.

There are two directors represented in this year’s festival–Kristi Gunther and Spencer Sickmann, who both turn out impressive work in the variety of short plays featured. Patrick Huber’s “blank canvas” set is back, and it’s as versatile as ever, augmented by Emma Glose’s strong props design and Abby Pastorello’s detailed costumes, wigs, hair and makeup design. There’s also excellent work from Huber on lighting design and sound from STLAS. It’s a good slate of plays this year, and another successful example of the more streamlined format that began with last year’s festival, featuring one set of five plays throughout the festival’s run. 

Here are some brief thoughts about this year’s featured plays:

“Grief & Woe”
by Paul Bowman
Directed by Spencer Sickmann

Lorelei Frank, Greg Hunsaker, Tyler Crandall
Photo by Patrick Huber
St. Louis Actors’ Studio

This is a somewhat whimsical take on the story of Adam (Tyler Crandall) and Eve (Lorelei Frank), who have a rocky start to their relationship to the consternation of their creator “Mr. G” (Greg Hunsaker), who keeps reminding them that they were made for each other. Enter Lou (Chuck Winning), the wily tempter who tries to derail the relationship even further, but Mr. G has his own ideas about how to handle their problems. 

This is a well-acted show with memorable portrayals from all, with Frank and Crandall portraying a believable love-hate relationship, and standout turns from Hunsaker as the exasperated but determined Mr. G and Winning making the most of every moment as the slippery Lou. It’s a quirky re-imagining of a familiar tale, and a memorable start to the festival. 

“Cage”
by Barbara Blatner
Directed by Kristi Gunther

Lorelei Frank, Jane Paradise
Photo by Patrick Huber
St. Louis Actors’ Studio

This story focuses on a fractured mother-daughter relationship, as the surly teenager George (Lorelei Frank) clashes with her critical mother, Bobby (Jane Paradise). While George takes refuge from the conflict in her love of animals, she upsets her mother by bringing in a wild snake as a pet. Meanwhile, Bobby has her own personal issues to deal with that are brought up by George. 

This play, more than the others here, seems like a scene from a larger work. The strong performances drive the plot well, but I find myself wanting to know more, and wishing this story had more time. This could easily be expanded into a full-length play, with its intriguing concept and believable relationship that could use more backstory.

“Walrus”
by Brandt Adams
Directed by Kristi Gunther

Greg Hunsaker, Anthony Wininger, Tyler Crandall
Photo by Patrick Huber
St. Louis Actors’ Studio

If this festival were giving out awards, this one would win for its hilarious concept. It’s essentially a run-of-the mill bar fight/conflict story, but the characters are all animals. It almost seems like the start of a joke–“a walrus and a manatee walk into a bar…” Here, the outspoken Walrus (Anthony Wininger) is telling loudmouthed stories to the more passive Manatee (Tyler Crandall), rousing the ire of bartender Mike (Greg Hunsaker), who happens to be a polar bear. 

This is easily the funniest play this year, with well-drawn characters and a thoroughly credible setup, with characters that are believably human, even though they’re animals. There’s even a subtle message about climate change thrown in for good measure, but what really makes this show work are the characters, and the performances. Everyone works well here, from Wininger’s blustery Walrus, to Crandall’s conciliatory Manatee, to Hunsaker’s volatile Polar Bear. It’s a dynamic, highly entertaining, well-portrayed story.

“Who’s On First”
by Neil LaBute
Directed by Kristi Gunther

Chuck Winning, Anthony Wininger
Photo by Patrick Huber
St. Louis Actors’ Studio

This year’s entry by the festival’s namesake, Neil LaBute, is a more serious twist that alludes to a famous comedy routine by means of its title and the character names. Abbott (Chuck Winning) is a Little League baseball coach having a clandestine and somewhat emotionally charged meeting with Costello (Anthony Wininger), the father of one of the team’s young players. From the start, it’s obvious that the coach isn’t comfortable with the idea that Costello is proposing, although it takes a while to become obvious what exactly the “deal” is. This is an intriguing, thought-provoking idea, raising concepts such as the purpose and goals of youth sports and its impact on the kids, as well as how seriously adults can take them. The performances are convincing, and this comes across as a believable moment that works more as a short play than some of the LaBute works in previous festivals, many of which seems more like extended monologues or acting exercises. 

“Love in the Time of Nothing”
by Jayne Hannah
Directed by Spencer Sickmann

Greg Hunsaker, Jane Paradise
Photo by Patrick Huber
St. Louis Actors’ Studio

Here, in the last and most poignant festival entry, Jane Paradise and Greg Hunsaker are Juleanna and David, a married couple who tell their love story and the difficulties they endure as David faces a heartbreaking diagnosis. This is an especially well done story, with memorable, sensitive portrayals by both performers and an engaging structure that brings the audience along for the ride as the story rolls along. There’s a strong sense of character and chemistry here, and although the overall concept is not new, it plays out in a convincing, heart-wrenching manner.

St. Louis Actors’ Studio is presenting The 10th Annual LaBute New Theater Festival at he Gaslight Theater until July 28, 2024

 

 

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STLAS’s Intense “The Whale” Showcases Relationships, Strong Acting

Posted in St Louis Theatre, tagged , , , , , , on April 11, 2024| Leave a Comment »

The Whale
by Samuel D. Hunter
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
April 6, 2024

Nadja Kapetanovich, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

Samuel D. Hunter’s The Whale is probably best known for its recent film adaptation starring Brendan Fraser. In fact, although I haven’t seen the film, I didn’t even know it was a play until St. Louis Actors’ Studio announced its current season. Their production, directed by Annamaria Pileggi, is a thoughtfully staged, intensely emotional relationship drama that serves as a showcase for an excellent cast of local performers. 

This play is the story of Charlie, a lonely, unhealthy, and overweight man who teaches online writing classes from his small apartment, which he never seems to leave. He’s cared for by his friend Liz, who is a nurse and also has another connection to him that will be revealed in the story. Liz urges Charlie to take better care of himself and to go to the hospital, but she also brings him unhealthy food to eat. As Charlie’s health continues to deteriorate, he seeks comfort in an old essay about Moby-Dick and in conversations with a young Mormon missionary, Elder Thomas, who has happened by one evening, and who Charlie thinks can help him find answers concerning a personal tragedy. Charlie also seeks out his teenage daughter, Ellie, who hasn’t seen her father since she was two when Charlie came out as gay and began a relationship with his late partner, Alan, ending his marriage to Ellie’s mother, Mary. Ellie seems to be angry at everything and claims to hate everyone, but Charlie wants to get to know her in hopes that he can somehow help her have a better life. There are many complications, as emotions flare and secrets are revealed, as volatile relationships are explored in a quest for some kind of hope in the midst of regret and despair.

The personal relationships are intensely believable, driven by William Roth’s heartfelt performance as Charlie, and supported by the equally strong Colleen Backer as the fiercely protective Liz and Nadja Kapetanovich as the surly Ellie. These are the key relationships here, and all three actors give powerfully emotional performances. There is also excellent work from Thomas Patrick Riley as the friendly but guarded Elder Thomas, and Lizi Watt as the hard-drinking, emotionally wounded Mary. There’s a lot of emotional hurt going on here, with sadness and anger at the forefront but with a lingering, persistent suggestion of hope. 

The detailed set and moody lighting design by Patrick Huber add to the overall melancholy tone of the story. There has been some criticism of this story as potentially exploitative, considering the use of padding of a thinner actor to look overweight, but the thoughtful direction here doesn’t seem mocking or belittling to me, and Teresa Doggett’s work on the costumes and prosthetics comes across as realistic, and even understated.  There’s also strong work from sound designer Kristi Gunther and props designer Emma Glose.

The Whale is intense, and acted with impressive depth by St. Louis Actors’ Studio’s well-chosen cast. It works especially well in the intimate setting of the company’s Gaslight Theater. There’s a lot to process in this play, concerning relationships, literature, self-expression, religious influence, and more. It’s a profoundly affecting story.

Nadja Kapentanovich, Thomas Patrick Riley, Lizi Watt, Colleen Backer, William Roth
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting The Whale at the Gaslight Theater until April 21, 2024

This review was originally published at kdhx.org

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STLAS’s “Barrymore” is Memorable Tour-De-Force

Posted in St Louis Theatre, tagged , , , , , , on December 6, 2023| Leave a Comment »

Barrymore
by William Luce
Directed by Erin Kelley
St. Louis Actors’ Studio
December 3, 2023

John Contini
Photo by Patrick Huber
St. Louis Actors’ Studio

John Contini has starred in Barrymore before, garnering great reviews and winning a Kevin Kline Award in 2010. I didn’t get to see that production, but now St. Louis Actors’ Studio is staging the show, allowing me and other St. Louis theatergoers to see this intense, remarkable performance. With vibrant staging and striking production values, this production showcases Contini’s portrayal of one of theatre’s more celebrated actors in a vividly realized, highly emotional production.

John Barrymore was one of the better-known actors on stage and screen in the first part of the 20th Century. Coming from a famous acting family that is perhaps best known today because of John’s granddaughter Drew Barrymore. In their day, however, John–called “Jack” by those who knew him–his brother Lionel, and sister Ethel were considered something of a “royal family” of acting–following in the tradition of their parents. This show features Jack toward the end of his life, in 1942, as he rehearses scenes from Richard III with the help of an unseen but much-heard line prompter, Frank (Alexander Huber). As Frank tries to keep him on track, Barrymore frequently digresses into stories of his childhood, his difficult relationship with his father, his four marriages, his alcoholism, his relationships with his siblings, his attitudes toward acting in film and theatre, and more. Although there is much wit and humor here, the overall impression I get from this story is a sad one, of a talented man at the end of his life, full of regrets and struggling to hold on to his reputation as one of the prominent Shakespearean actors of his day. 

It’s a very deep, multi-faceted performance that portrays Barrymore’s humanity with sharp veracity. Contini is a marvel in how he portrays the many aspects of Barrymore’s personality, as well as his still-apparent talent. It’s a riveting performance, from start to finish. Huber is also commendable in a sympathetic performance as the helpful but frequently exasperated Frank. Even though Huber never appears onstage, Frank’s presence is palpable and important, serving as an ideal sounding-board for Barrymore and something of an audience surrogate, as well.

The world of the play is brought to life vividly by means of Patrick Huber’s detailed set and excellent lighting design, as well Teresa Doggett’s remarkable costumes and Emma Glose’s props. It’s like the audience has been transported to a small theatre in 1942, with just the right look and mood. Director Erin Kelley’s staging is thoughtful and dynamic, as well.

Although the main “selling point” for this production is John Contini’s remarkable performance, all the other elements are also first-rate. This is a remarkably vivid recreation of another time and place, as well as an emotional reflection on the life of an actor. I highly recommend this production, especially for those with an interest in the history of the American theatre.

John Contini
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Barrymore at the Gaslight Theatre until December 10, 2023

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STLAS’s “Beach House” is An Intriguing, Well-Cast Look at Memorable Characters, Situations

Posted in St Louis Theatre, tagged , , , , , on October 12, 2023| Leave a Comment »

Dr. Ride’s American Beach House
by Liza Birkenmeier
Directed by Annamaria Pileggi
St. Louis Actors’ Studio
October 8, 2023

Lizi Watt, RN Healey, Lindsay Brill, Bridgette Bassa
Photo: STLAS

The latest production from St. Louis Actors’ studio has a few St. Louis connections. Playwright Liza Birkenmeier is from here (although she is now based in New York), and the play is set in South City in 1983. Dr. Ride’s American Beach House is an intriguing character study and exploration of various issues relating to women’s roles in society as well as relationships, ambitions, and more. It has a small, excellent cast, and impressive production values that make the show look and feel very “St. Louis”, as well.

The story takes place on the roof of a historic home in South City that’s something of a tourist attraction. Harriet (Lindsay Brill) lives there, and is hosting her regular “book club” meeting with longtime close friend Matilda (Bridgette Bossa), who has invited a recent acquaintance, Meg (RN Healey) to the gathering, to Harriet’s initial annoyance. Harriet is also preoccupied with an upcoming event–the first space flight of Dr. Sally Ride, who would become the first American woman in space the next morning. The structure of the play is more character-focused, because there isn’t really much of a plot. It’s just four women–including Harriet’s landlady Norma (Lizi Watt), who makes a few memorable appearances–hanging out on the roof, drinking beer, listening to the radio,  and expressing their thoughts on the world around them. They share their thoughts about their lives and their goals, and Harriet and Matilda are questioned about the nature and intensity of their relationship, as Harriet begins to share stories about recent experiences that make Matilda somewhat uncomfortable, and the brash Meg encourages Harriet to do what she wants and discover who she wants to be. It’s a very credible interaction and seems authentically “St. Louisy”, with additional information about Sally Ride, NASA, and the space program included for good measure, and a bit of a twist that shifts the perspective near the end, adding a degree of illumination to the established characters and relationships.

The dialogue is credible and flows in a believable way, and the characters are memorable and well-drawn. There is a fair degree of subtext here, and the performers handle it well, along with the overall “dramedy” tone of the show. All four performers are strong, working well together in a cohesive sense of ensemble chemistry. Brill and Bassa are strong in the central roles, and Healey adds much in the way of attitude and perspective. Watt is also excellent in her mostly comic turn as Norma, who strikes me as a character who can easily be overplayed, but thankfully isn’t here. The mix of characters and the well-pitched performances add much to the overall effectiveness of this story.

Technically, the show is especially impressive, as Patrick Huber’s detailed set seriously looks like he took an old brick South City home, cut the top floor off, and put it onstage at the Gaslight Theater. It’s amazingly authentic looking, with some nice period set decoration and props by Emma Glose to add to the 1983 vibe. There are also well-suited costumes by Abby Pastorello, excellent lighting by Kristi Gunther and sound by Glose. 

Dr. Ride’s American Beach House is a vividly realized “slice-of-life” look at a particular moment in history as experienced by “ordinary” St. Louisans. The language and themes are decidedly adult, so this isn’t for all ages, but it’s an intriguing story that feels like a snapshot in time. It’s a good start to the season for St. Louis Actors’ Studio.

Lindsay Brill, Bridgette Bassa
Photo: STLAS

St. Louis Actors’ Studio is presenting Dr. Ride’s American Beach House at the Gaslight Theater until October 22, 2023

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