St. Louis Actors’ studio is presenting a unique show this month, which isn’t exactly a play. A one-man show starring professional magician Kyle Marlett, Forget Me Not comes across more like performance art, although there apparently is a script, co-written by Marlett and Gunnar Sizemore. Featuring some audience participation that, to my mind, borders on the intrusive, the show explores Marlett’s life experiences and relationship with his chosen profession, as well as exploring the ideas of memory, secrets, and honesty.
Marlett comes across as a personable guy, and this show starts out with him introducing himself and what he does. He demonstrates some basic magic tricks, and then starts telling his story, almost as if he’s making up the show as it goes along, although the staging essentially requires a script, as certain lines trigger things that happen in the show–especially when a series of boxes suspended above the stage drop at various times throughout the performance. Marlett tells stories of his life and his family relationships–especially with his older brother and his father–performing feats of illusion along the way. The story gets highly personal, and so does the magic show, as Marlett invites audiences members up onstage to participate, and it increasingly comes across as awkward and more than a little intrusive. I’m sure there are people who like this kind of thing, but I usually find this way of putting strangers on the spot uncomfortable. I’m fairly sure the audience members weren’t “plants”, either.
Still, some of the magic tricks are truly amazing, and the technical effects and coordination of those effects are impressive. It’s an entertaining show in terms of spectacle. Patrick Huber’s lighting design and Marlett’s sound design, featuring highly effective use of music, are excellent. I also find the setup striking, with Marlett alone onstage with only a table and two chairs as furniture, and an array of boxes surrounding him as walls, along with the ones that hang from the ceiling.
As Marlett tells a compelling and, at times, intensely emotional series of stories, the magic tricks and special effects help him tell that story, presenting thought-provoking concepts exploring the ideas of lies vs. honesty, as well as the weight of secrets. It’s certainly a memorable show, true to it’s title, and for attendees who are cool with the more awkward and challenging aspects of it, this will be the most effective. Marlett is a gifted magician, and the blend of theatre and magic is inventive. If you go in knowing what to expect, it’s probably easier to enjoy.
St. Louis Actors’ Studio is presenting Forget Me Not at the Gaslight Theater until December 18, 2022
I’ve sometimes thought that if I were ever to write my memoirs, they would have to be at least partially fictionalized. Since life is rarely as dramatic as literature, at least a little embellishment would be necessary in telling my life story. Also, there are real people involved in my story, and I don’t own their lives, so fudging to protect privacy would also be needed. In addition to these reasons, imagining what could have happened is often easier, more fun, and sometimes less painful than remembering what really happened. These ideas–of truth vs. fiction in telling our stories and those of others we know–are dealt with in intriguing, highly personal detail in Steven Dietz’s relationship drama Fiction, which explores the marriage of two writers who, upon being faced with mortality, are forced to confront their own secrets, mysteries, and realities in their relationship and in their writings.
The story begins mid-conversation in a café in Paris, where Michael Waterman–played by William Roth, and Linda, played by Lizi Watt–are arguing about music. It’s a conversation that establishes the characters’ personalities to a degree, and we see the good-natured banter and obvious affection between them. Then, the story flashes forward to the present, in which Michael and Linda are both well-known authors who have been married for 20 years. Linda, who lives in the shadow of her more famous husband and the memory of her celebrated first novel, teaches a college writing class. Michael churns out a series of best-selling novels that keep getting made into movies. They have their concerns and regrets, but they know each other well, and they’re happy. That is, they’re happy until Linda gets diagnosed with an aggressive brain tumor and is given just weeks to live. In the midst of the pending grief, Linda tells Michael she wants him to read her journals after she dies, and requests to read his. Michael is hesitant, but eventually agrees, and as they say, the plot thickens, as the years and years of diaries contain secrets that Michael hasn’t told Linda, involving a young woman that he met at a writers’ colony–Abby, played by Bryn McLaughlin. It may appear obvious where this story is going, and in a way, that is where it goes, but in a much bigger way, this story leads back to something less obvious and potentially more devastating. It’s a story that challenges not only the Watermans’ relationship, but also their identities as writers, and the very ideas of truth and fiction in their lives, as these concepts blend together in mysterious and occasionally confusing ways, leading to some startling revelations and a conclusion that brings the story back to where it began, with a degree of resonance concerning what is to come for the young, unwitting couple.
I’ve seen a few plays by Steven Dietz, and I think this is most well-constructed, although the characters are hard to like at times–especially Michael. Still, Roth manages to infuse him with enough charm that, as blustery and self-important as he can be, I can understand the connection between him and Linda. Linda, for her part, is much more likable at first, and Watt conveys such an earnestness in her portrayal that makes later revelations all the more surprising. It’s a rich, nuanced performance, and the centerpiece of the play. Watt and Roth also display believable chemistry. McLaughlin, in the somewhat mysterious role of Abby, is also excellent, as her motives aren’t made obvious at first. McLaughlin is adept at maintaining the mystery until the necessary reveals, playing well against both Roth and Watt with a believable degree of antagonism mixed, occasionally, with admiration.
The staging by director Wayne Salomon is fairly briskly paced, taking just enough time for the drama to play out credibly and with due poignancy, but without dragging. The set, designed by Patrick Huber, is dark and minimal, with a bit of abstraction represented by the vague scribblings painted on the walls, like the mysterious vagaries of a writer’s mind. Kristi Gunther’s mood-setting lighting adds to the atmosphere of the production, as do Carla Landis Evans’s well-suited costumes.
Overall, this is a play that holds my attention from the sheer strength of the acting, as well as the well-crafted intrigue of the unfolding mystery that has more layers than may be apparent at the start. It’s a difficult story at times, in terms of trying to figure out where it’s going, but I’m sure that’s deliberate on the playwright’s part, as even the strongest relationships have their difficulties, and their conundrums. Fiction is the title, but there’s much truth here, in the play itself as well as in the first-rate staging and performances.
William Roth, Bryn McLaughlin, Lizi Watt Photo by Patrick Huber St. Louis Actors’ Studio
St. Louis Actors’ Studio is presenting Fiction at the Gaslight Theatre until October 23, 2022
The LaBute New Theater Festival, Part 2 Directed by Spencer Sickmann St. Louis Actors’ Studio July 22, 2022
Carly Uding, Brock Russell, Bryn Mclaughlin in “St. Louis” Photo by Patrick Huber St. Louis Actors’ Studio
St. Louis Actors’ Studio is back this week with the second round of their 2022 LaBute New Theater Festival. This week’s selection features one from last week, namesake playwright LaBute’s “St. Louis”, which stood out for its sharp dialogue on this viewing, as well as its strong performances by Carly Uding, Brock Russell, and Bryn Mclaughlin. The rest of this installment’s entries represent a mix of styles and subject matter, with a bit of a focus on the unexpected, as well as a turn more toward drama. Here are some thoughts:
“TNT” by Steve Apostolina
This play is the most comedic of this set, focusing on relationships between work colleagues Tucker (Drew Patterson), Nunez (Mara Bollini), and Thompson (William Humphrey), who work in the parking garage of some type of movie and/or television studio. The personality conflicts, political differences, and hidden secrets between these three characters form the story. Tucker and Nunez, on opposite sides of the political spectrum, seem to barely tolerate one another while trying to maintain a cordial working relationship, while Nunez drops hints about new co-worker Thompson and soon, a series of surprises reveal themselves as the story plays out, revealing how quickly feelings can change when key information is revealed. It’s briskly paced, and all three performers handle the timing well, even though the ending is more than a little abrupt, to the point where it almost leaves me wondering what the point of this play is. Still, it’s a timely reflection on how relationships are affected by core beliefs, with some amusing moments, along with some room for thought and reflection.
“Maizie and Willow, Brown Penny, Blue Pillow” by John Yarbrough
This is by far the shortest of the plays in this set. In fact, it comes across more as a scene from a larger play, and as such it leaves a lot of questions. There’s a lot of detail here that doesn’t get explored because the play is so short. The story focuses on married couple Maizie (Missy Heinemann) and Willow (Jaelyn Hawkins), as they deal with a major life decision having to do with Willow’s apparent terminal illness. There are intense moments in this play, and both performers exhibit strong chemistry and intense, credible emotion while dealing with a controversial subject that is going to affect different audience members different ways. It’s an intriguing vignette, but for the most part, it seems incomplete.
“What Do they Want” by Gary Pepper
This play gets my vote for “best of the festival” this year–in a near-tie with the next play of this set–with its fascinating twists and turns in the plot, as well as it’s surprisingly well-drawn characters and excellent pacing. In this story, strangers Gary (Brock Russell) and Burt (Drew Patterson) meet on the roof of a building, while Gary tries to figure out a puzzling issue and Burt is trying, again, to quit smoking. At first, it’s not entirely clear what Gary’s problem is, but when Burt tries to help, he finds himself more and more disturbed. Then, the situation turns in a striking way with a fairly simple revelation, and the power balance shifts back and forth as these two work out their issues and talk through a variety of issues in their lives. It’s a mixture of comedy of drama in terms of tone, with both performers turning in excellent performances as these two increasingly fascinating characters.
“Who Will Witness For the Witness” by Susan Hansell
This is another strong entry in the festival, with a focus on women from history that you may or may not have heard of, and an infamous, horrific, and tragic event
that is well known. Told in a narrative style, first presented by a photojournalist character identified in the program as “Woman 1” (Jaelyn Hawkins) and then intertwining with the stories of Woman 2 (Mara Bollini), a philosopher, mystic, and activist; Woman 3 *Bryn Mclaughlin), a resistance fighter; and Woman 4 (Missy Heinemann), a Catholic convert and nun. All are essentially contemporaries, standing up against atrocities and injustice, mostly revolving around the World War II and specifically the Holocaust. This in an intense play, with a strong sense of story and character, as these historical figures tell their tales and implore the audience never to forget. There’s a lot here, but it’s a well constructed story, making a profound, emotional impression. This is a remarkable production.
St. Louis Actors’ Studio is presenting Part 2 of the LaBute New Theater Festival at the Gaslight Theater until July 31, 2022
The LaBute New Theater Festival Directed by Spencer Sickmann St. Louis Actors’ Studio July 10, 2022
Mitch Henry-Eagles, Eric Dean White, Carly Uding in “Time Warp” Photo: St. Louis Actors’ Studio
St. Louis Actors’ Studio’s usually annual LaBute New Theater Festival is back at the Gaslight Theater after a two year hiatus, in its usual 2 part format. The first set of plays, which opened on July 8, focus largely on relationships–romantic, adversarial, and friendship. It’s an intriguing set of plays, and as usual, features an entry by the festival’s namesake, Neil LaBute, that will be running throughout the festival. Unlike previous years’ festivals, which had a variety of directors, all the plays this time were directed by Spencer Sickmann. The set design and lighting design are by Patrick Huber, the costume design is by Carla Landis Evans, and the props and sound design are by STLAS. Here are my thoughts on Part 1:
“What Else is New” by Aren Haun
Eric Dean White, Mitch Henry-Eagles Photo by Patrick Huber St. Louis Actors’ Studio
This is a character-focused show that seems to drag a little at first, but picks up as the story plays out. The setting is a nameless diner, and Bruno (Eric Dean White) enters with a roll-on suitcase and begins asking questions of the only worker in the place, Mark (Mitch Henry-Eagles), who we soon find out is an art student. Bruno is very particular, bringing his own silverware and straw to the diner, as well as asking Mark pointed questions and insisting he turn on the TV. At first, Mark seems annoyed by Bruno, but as Bruno shares more of his story, the tone starts to change. It’s an intriguing look at the developing relationship between two characters who are initially strangers, although it does seem to run a little long. The point seems to be about finding connection in the midst of loneliness and disappointed dreams, and both actors do an excellent job portraying these two contrasting characters.
“Twilight Time” by John Doble
Bryn Mclaughlin, Alexander Huber Photo by Patrick Huber St. Louis Actors’ Studio
This one is the shortest play of the night, again featuring two strangers meeting and forming a connection. What’s different about this play is that the characters, Benjamin (Alexander Huber) and Geraldine (Bryn McLaughlin), soon find that they are both there for the same dark reason. Not to give too much away, but I feel the need to provide a warning here, as suicide is discussed, along with various methods. Soon, however, the mood shifts, as the two characters find that they share much more in common than their mutual, sad goal. In fact, an attraction quickly grows between them, and the tone of the show starts to shift somewhat rapidly. The overall staging is simple, but well-paced. This is a very short play, and the overall comic tone may strike some audience members as odd, but both performers play out this story with excellent chemistry and compelling stage presence, and the characters seem surprisingly well-developed as a result, considering the length of the play.
“Funny Thing” by Willie Johnson
Mitch Henry-Eagles, Drew Patterson Photo by Patrick Huber St. Louis Actors’ Studio
This entry is more of a relationship drama, with a non-linear element that can become confusing at times, although the staging and especially the lighting help in figuring out what is going on, and when. It shows the development and breakup of a romantic relationship between two characters identified as Older Man (Drew Patterson) and Younger Man (Mitch Henry-Eagles), with Older Man starting and ending the show holding a large rock-like object that he then hangs on the wall for the most of the play, taking it back down at the end. I’m not entirely sure what this action and object are supposed to mean. Maybe the relationship–or the act of of meeting, dating, and then breaking up is seen as a cyclical burden–but that’s not made entirely clear. It’s mostly just an “observational” type story as we see these characters meet, get to know another, and then break up, with the initial breakup scene happening right after the first meeting scene, forming two basic “threads” of the story. It’s an intriguing structure, reminding me somewhat of the musical The Last Five Years except here, both characters are interacting in both threads. It’s an interesting concept, but Older Man isn’t especially likable, and there’s not enough time to show exactly why the relationship sours, so it’s not as easy to follow as it could be. The performances are strong throughout, but there doesn’t seem to be a major point here much of the time.
“Time Warp” by Fran Dorf
Eric Dean White, Alexander Huber Photo by Patrick Huber St. Louis Actors’ Studio
This play is, to my mind, the most fascinating concept, as well as featuring the most compelling characters. The story takes place in what appears to be an antique shop in New York City, as an older couple, Brian (Eric Dean White) and Beth (Carly Uding) are celebrating their anniversary with a trip, and find themselves wandering into this shop, run by a friendly but mysterious proprietor , CG Young (Mitch Henry-Eagles). Soon, both Brian and Beth begin recognizing objects in the shop, as well as remembering, or almost-remembering, events that seem to have happened in their dreams. Soon, we hear about Brian’s experiences while serving in the Vietnam war, and an old Army acquaintance of his starts to figure into his memories and Beth’s–the angry but talented artist Joey Passarelli (Alexander Huber). It soon becomes clear that this shop is not what it first appears to be, and the answer to Brian and Beth’s growing confusion is something that the audience may not have guessed. I know I didn’t guess. The acting here is especially strong, although some of the subject matter is highly disturbing. Still, it’s a compelling story, and all of the players work well together. The lighting and sound are also especially notable in this production, working to lend a mysterious air to the proceedings.
St. Louis by Neil LaBute
Carly Uding, Brock Russell, Bryn Mclaughlin Photo by Patrick Huber St. Louis Actors’ Studio
As the “headline” act of this festival, “St. Louis” strikes me as curious. It’s a cleverly structured, interview-style play, featuring a developing story of the intertwining relationships of characters listed in the program as Him (Brock Russell), Her (Carly Uding), and She (Bryn McGlaughlin), although they do have names that are mentioned throughout–Scott, Stephanie, and Sue, respectively. All three seem to be responding to an interrogation of sorts by an unseen interviewer, as their answers are sometimes hostile and/or defensive. It tells a fairly simple story in an “unfolding mystery” type of way, as Scott moves into the same apartment building as Stephanie and Sue, who are a couple. Soon, though, he and Stephanie strike up a rapport, and the story plays out from there, in a somewhat predictable fashion. It’s fairly easy to follow, and the characters and their relationships are clearly defined and portrayed, even though all three are standing alone in different areas of the stage. The acting is strong here, with characters who aren’t always easy to like (especially Scott), but the setting is somewhat superficial. The title of the play is “St. Louis”, and the story is ostensibly set here, but that setting doesn’t go any further than mentioning a few local place names. These names could easily be changed to have to play set essentially anywhere. Still, the dialogue is sharp and the characters well-defined. I’m curious to see what I will think when I see it again in Part 2 of the festival.
Part 1 of the LaBute New Theatre Festivalis running at the Gaslight Theater until July 17, 2022. Part 2 begins on July 22, 2022.
Hand to God is one of those sharp, crass, biting comedies that’s not for all audiences, with crude humor, strong language, and uncomfortable subject matter. Still, it has a lot to say, in the words of its human and puppet characters. Onstage at St. Louis Actors’ Studio’s Gaslight Theater, STLAS’s latest production brings a lot of laughs from the audience, but for me, what shows through the most is an underlying sadness, considering the situation of the characters involved, and the culture in which they live.
The play takes place mostly in the basement of a church, where the recently widowed Margery (Colleen Backer) is trying to channel her grief into leading a youth puppet ministry. It’s not a very big or enthusiastic effort, with only three teens involved, whose attitudes range from apathy to outright hostility, but there’s a sense of urgency because the pastor keeps asking Margery about their progress, and wants them to perform in front of the church at an upcoming service. The group includes the abrasive, foul-mouthed Timmy (Josh Rotker), the generally amiable but slightly snarky Jessica (Phoebe Richards), and Margery’s insecure son Jason (Mitchell Henry-Eagles), who seems to channel his own conflicted feelings through his puppet Tyrone. The problem is that Tyrone increasingly appears to have a mind of his own, and often appears to be telling Jason what to do rather than the other way around. The main focus here is on Jason and the increasingly difficult and ultimately menacing Tyrone, who also opens and closes the show with a pair of especially caustic, cynical monologues that only serve to emphasize the overall chaos of the world in which these characters live. In the story itself, Tyrone appears relatively passive at first, then starts injecting a few inappropriate comments into Jason’s conversations, and things get more extreme when Jason has an opportunity to take out his anger on the puppet, and Tyrone strikes back with a vengeance, affecting everyone in the play in various ways. We also get to see the strained relationship between Margery and Jason, as well as Margery’s efforts to handle her own grief, which begin to spiral in a dangerous direction, as Timmy continues to antagonize her. There are also the awkward efforts of Pastor Greg (Eric Dean White)–who makes his attraction to Margery painfully obvious–to intervene in various ways. A variety of over-the-top, uncomfortable, and sometimes downright cringeworthy situations ensue, along with desperate and hilarious efforts to “fix” the situation caused by the out-of-control puppet Tyrone. There are also the questions of Jason’s involvement–is he consciously or unconsciously acting out his frustrations through Tyrone, or does the puppet really have a mind of his own?
This is a show that depends a lot on timing and casting, and it impresses in those areas especially. The quick pacing adds to the overall darkly comic tone, and the cast is first-rate, led by a truly remarkable performance from Henry-Eagles as the conflicted Jason and his crass and increasingly domineering puppet, Tyrone. Henry-Eagles doesn’t miss a beat in the interplay between these two characters, also doing well with a snippet of a classic comedy routine early in the play, and credibly ramping up the intensity as events start to spiral out of control as the play goes on. Backer is also excellent as Margery, who seems meek at first, but shows more emotion and conflicting reactions as her own situation heads in a disturbing direction. White is effective as the sometimes painfully awkward Pastor Greg, and there are also strong performances from Rotker as the confrontational Timmy, and Richards as Jessica, who comes across as perhaps the most level-headed of the characters.
Technically, the play is impressive, making the most of STLAS’s small stage with an excellent detailed set by Patrick Huber that effectively transforms from basement/classroom to Pastor Greg’s Office as needed. The truly remarkable puppet and prop design by Jenny Smith and STLAS is also memorable, as are the well-suited costumes by Teresa Doggett. There’s also strong work from lighting designer Steve Miller, sound designer Robin Weatherall, fight choreographer Cameron Ulrich, and intimacy choreographer Dominique (Nikki) Green.
This show is definitely a comedy, but I found myself thinking a lot more about the pain behind the comic situations much of the time while the audience laughed around me. Much has been written over the years about the relationship between comedy and pain/sadness/tragedy, and that relationship is on clear display here. It’s a show that will make audiences laugh, but also can make them think, and notice just how messed up most of the characters’ lives are, as are the circumstances that got them to where they are, as well as a culture that seems to emphasize “putting on a good face” over honesty. At STLAS, what Hand to God has going for it most notably is a strong cast of impressive local performers.
Eric Dean White, Colleen Backer Photo: St. Louis Actors’ Studio
St. Louis Actors’ Studio is presenting Hand to God at the Glaslight Theater until April 24, 2022
St. Louis Actors’ Studio’s newest production isn’t just a St. Louis premiere–it’s a World Premiere, by playwright Neil LaBute, with whom the company has had an ongoing working relationship. They’ve produced several of his plays before, mostly as part of their annual LaBute New Theater Festival. The new play, Comfort, is a two-character drama examining a strained mother-son relationship, while exploring and challenging the character and choices of the mother in particular. It’s a superbly cast and acted play featuring two excellent local performers, and it works especially well as a showcase for their impressive talents.
The mother character, Iris (Kari Ely), is the main focus of the play, and the real catalyst for its action, even if what she did to set the play’s action in motion happened offstage and years before the events depicted in the play. Iris is a celebrated, multi-award-winning author who lives alone and cherishes the time she spends by herself, as well as the accolades she has received–and hopes to receive, as she has apparently recently been subject to some Nobel Prize buzz. Cal (Spencer Sickmann), her adult son, was primarily raised by his father–Iris’s recently deceased ex-husband–since the couple split up when Cal was 10 years old. The action begins when Cal breaks into Iris’s house while his mother is out, ostensibly to retrieve some photo albums that feature old family pictures from before the divorce, but we find out when Iris inevitably comes home and discovers him that Cal has an underlying motive that he doesn’t initially admit. What ensues is a series of scenes and events that work to challenge Iris’s choices as a writer, as a mother, and as a person, as well as reveal some of the reasons behind her estranged son’s resentment toward her.
As one who finds LaBute’s work somewhat hit-or-miss, I have been curious to see what this new work would be like. I have to say now that in my mind, this one is a lot more “hit” than “miss”, although it does contain some elements that I that I think need some editing or reworking, such as some repetitious situations and dialogue and some “revelations” that are too obvious, as well as some points that could be elaborated more. I also think the character of Cal isn’t as well-drawn as he could have been, although Sickmann does a commendable job of making him interesting. Both he and Ely make the most of their roles, and their dynamic interplay is the main source of the drama here, as at first it’s not entirely clear what Cal wants, and the revelations throughout the play are introduced gradually. Iris is a complex character with many levels of depth, and Ely does a fantastic job of portraying all of these levels with clarity and, when needed, startling intensity. Iris is also not especially likable, although Ely’s performance makes her fascinating to watch as the story unfolds and her interactions with Sickmann’s Cal become more emotionally charged.
As for the staging, director Anamaria Pileggi makes the most of the small stage here, and Patrick Huber’s thoroughly detailed set. The mood is helped along through means of Huber’s excellent lighting as well, and costume designer Teresa Doggett has outfitted the characters well. I’m continually impressed by how STLAS is able to use their relatively small venue to the best of its potential, and this show is no exception.
Overall, Comfort is a worthwhile theatrical experience. It’s not a perfect play, but it makes an excellent showcase for two superb performances. With its complex relationship dynamic dealing with academic, social, and personal issues, it’s an intense drama that’s sure to make audiences think.
Spencer Sickmann, Kari Ely Photo by Patrick Huber St. Louis Actors’ Studio
St. Louis Actors’ Studio is presenting Comfort at the Gaslight Theater until December 3, 2021
Edward Albee and Harold Pinter are two of the most celebrated playwrights of the of the 20th century in the United States and United Kingdom, respectively. Their work is often performed and reviewed, and has influenced many great playwrights that have followed. Now at St. Louis Actors’ Studio, two of the writers’ more influential early works, both two character plays, are being featured with the same two actors in both plays. Albee’s The Zoo Story and Pinter’s The Dumb Waiter are both important plays in the history of theatre, and as shown at STLAS, they are both still powerful, thought-provoking works that serve as excellent showcases for actors.
Presenting these plays in this manner makes for an excellent way to challenge the actors in their versatility, as William Roth and Joel Moses each play contrasting roles in the two different plays. In The Zoo Story, Roth is Peter, a mild-mannered family man who is enjoying a quiet afternoon reading on a bench in Central Park, when he is suddenly approached by Jerry (Moses), a much more confrontational character who does most of the talking, as he announces he has been to the zoo and then takes a roundabout way of telling the story of why, revealing much about his character and background in the process, as he openly challenges Peter’s more “status quo” lifestyle. Here, Jerry is essentially in control for most of the proceedings, and the play is a challenge for both actors in different ways, as Jerry is very active and loud, while Peter doesn’t speak through much of the story, and Roth is forced to sit there and react to this increasingly uncomfortable invasion of his personal space. Both actors do an excellent job here, with Moses bringing much emotion and humanity to the confrontational Jerry, and Roth giving something of a master class in “reaction acting”, as both characters display a strong sense of increasingly combative chemistry. It’s a challenging play–not out of the ordinary for modern audiences, but especially controversial in its day, as director Wayne Salomon points out in his note in the program.
The director’s comment also applies to Pinter’s The Dumb Waiter, which is from the same era as The Zoo Story, but has a British setting, and this time the two actors take markedly different roles, as two hit men who are waiting in a windowless basement room for a call about their next assignment. Here, Moses plays Gus, the younger, more reticent hit man, while Roth is the more commanding “senior partner”, Ben. Like The Zoo Story, this play also focuses primarily on the relationship between two characters, with one seeming to be more in control than the other. Here, though, the location is also a “character”, in a way, as the titular dumbwaiter seems to have a mind of its own, serving as the instrument for communication (along with a snake-like “speaking tube”) between the main characters and some unseen “others” who keep sending food orders like they are in a restaurant. The dumbwaiter is also prone to opening and–startlingly–slamming shut at unannounced moments, providing a strong source of tension in the play. The performances here are first-rate, as well, with Moses impressive as the more naive, nervous Gus and Roth excellent as the gruff, more businesslike Ben, who is in for some surprises of his own as the play leads to a somewhat surprising, abrupt end.
To echo Salomon’s comments in the director’s note, neither of these plays should be unusually “shocking” for a modern audience, as this sort of grittiness has become much more commonplace in theatre. Still, the sense of character and storytelling is sharp in both, and each is memorable and thought-provoking in its own right. The productions here are well-paced and dynamic, with a strong sense of ensemble chemistry between the two actors, and good technical elements, as well, including especially impressive work from set designer Patrick Huber in producing two very different settings for the plays–as backdrops and a bench provide the park setting for The Zoo Story, and these later give way to the stark, grimy basement setting of The Dumb Waiter. Huber’s lighting design is also effective, as are Teresa Doggett’s meticulous costumes.
It’s intriguing to see these two one act plays by different, important playwrights presented this way. Using the same actors in both plays allows both to show more of their range, and allowing the audience to see both plays together allows for comparing and contrasting and getting a direct display of the early foundations of modern theatre. These are plays you may have heard about, or read, or seen in separate productions, but here STLAS is providing an ideal opportunity to see them together. It’s an impressive return to the stage for this local company.
Joel Moses, William Roth Photo by Patrick Huber St. Louis Actors’ Studio
St. Louis Actors’ Studio is presenting The Zoo Story and The Dumb Waiter at the Gaslight Theater until October 3, 2021
St. Louis Actors’ Studio proves true to its name with its latest production, Sharr White’s Annapurna. The next in the company’s season of two-character plays, the highlight here is on the acting, and it is superb. With two excellent local performers headlining, this proves to be a compelling and memorable tale of relationship, regret, and a wide range of emotions, deliberately and expertly paced.
The structure of this play is especially compelling, as we see a whole journey taking place on stage, from first (re-) meeting through to a series of well built-up revelations. The first words of play are “holy crap!” They are uttered by reclusive writer Ulysses (John Pierson) upon the sudden arrival of his ex-wife Emma (Laurie McConnell), who abruptly left him 20 years before along with their then 5-year-old son. The beginning is understandably volatile, as a mix of pent-up emotions and a clutter of stories and conflicting memories emerge and, gradually and naturally, the truth comes out. The combination of short scenes punctuated by blackouts along with longer periods in which we see these two characters getting to know one another again is particularly effective, as are the stellar portrayals here. There’s a story here of relationship, regret, and “what ifs”, as well as buried secrets and the hope for understanding, if not reconciliation. It’s a fascinating show, focusing on these two multi-layered characters and their ever evolving relationship, as they rely on old patterns and occasionally try to establish a new one. The title comes from the mountain of the same name, and idea of climbing such a difficult peak serves as an ideal metaphor for the relational journey depicted in this play.
The range of emotions covered here is great, as is the credible build-up of these feelings and the truths that are uncovered in this relationship. It’s something of a master class in acting from both Pierson as the guarded, sometimes volatile Ulysses, and McConnell as Emma, who is determined, conflicted, and secretive in her own way. The interplay between these two immensely talented performers forms the heart of this play, and their chemistry is palpable and stunning. I’m especially impressed by how subtle some of the emotions and thought processes are conveyed, especially by McConnell as Emma listens to Ulysses’s stories and tries to decide what to believe and how much to tell him. The pacing is just right, as well, letting the audience witness the developments and the rawness of the emotion without pushing it too far.
As for the production values, they are excellent, as well, making excellent use of the small stage at STLAS’s Gaslight Theater and bringing Ulysses’s messy old trailer to life by means of Patrick Huber’s impressively detailed set. Huber and Steven J. Miller also provide effective evocative lighting, and there’s also strong sound design by Jeff Roberts. Kayla Dressman’s costumes fit well for the characters and the tone of the play, and Jenny Smith’s props design also works well.
This can be a tough play in terms of subject matter, touching on alcoholism, domestic violence, and more. It’s full of regret and loss, but also there are moments of hope. It’s a worthwhile artistic journey, with highly commendable performances from its two leads. Annapurna is quite a journey, and the performances especially make it more than worthwhile.
John Pierson, Laurie McConnell Photo by Patrick Huber St. Louis Actors’ Studio
St. Louis Actors’ Studio is presenting Annapurna at the Gaslight Theater until March 1, 2020
If you’ve ever been involved in theatre at any level, St. Louis Actors’ Studio’s latest production will have something to which you can relate. A Life in the Theatreis David Mamet’s two-hander focusing on two actors at different stages in their careers, continuing STLAS’s season of two person plays. Here, with two excellent performers in the leading roles, this is a show that serves as an insightful glimpse at the theatrical life, for actors and for anyone who loves this art form.
This isn’t a long play, running at roughly 85 minutes and with no intermission, but makes its point well in that short running time. Its a series of vignettes, essentially, following the interactions of two actors who frequently work together. Robert (William Roth) is the older, more seasoned performer and John (Ryan Lawson-Maeske) is the younger actor whose career is on the way up. Through the course of the evening, we get to see their backstage interactions as well as portions of some of their plays, including a World War I drama, an office drama, and others. As the show goes on, there are successes and mishaps, including several that many who have worked on a play will recognize. There are missed technical cues, forgotten lines, mistimed entrances, and more. Also, we see the changing dynamics of the relationship between the two characters, as John experiences new successes and Robert is reminded of the swift passage of time and deals with jealousy as well as mortality. Mamet’s script is insightful and frequently humorous in a knowing sort of way, demonstrating the timelessness of theatre and the acting profession, and how the art goes on even as the performers age and change. It’s a witty show with moments of cynicism and poignancy, but ultimately it reinforces the old adage that “the show must go on”.
It’s an intriguing character study in which the characters are “types” as much as they are individuals. The two are played with flair by STLAS veterans Roth and Lawson-Maeske. Roth gets to make the most of his range as Robert starts out with a sense of projected overconfidence and then gradually loses that and grows more and more unsure and unstable. Lawson-Maeske is also winning as the young performer gaining experience and learning to deal with success as well as managing his relationship with his colleague. The two share a strong on-stage rapport as well, that turns into something of a “frenemies” situation, occasionally crossing the line into combative, and both performers excel in these moments, and in the more comic moments as well.
The staging by director John Contini is well paced, and Patrick Huber’s set is versatile and well-realized, allowing for various easy scene changes that change the perspective from backstage to on stage. There’s also a range of appropriately suited costumes by Andrea Robb, and excellent sound design by Contini and lighting by Huber. Even in its staging, this is an excellent glimpse of the life of a performer in its various aspects.
This is a show for theatre lovers, and especially for anyone who has worked on a production. If you know theatre, you should know a lot of what’s portrayed here. A Life in the Theatreis an apt title, since even though it depicts particular characters, there is something universal about this art, and the life of a performer. It’s well worth seeing, and remembering.
Ryan Lawson-Maeske, William Roth Photo by Patrick Huber St. Louis Actors’ Studio
St. Louis Actors’ Studio is presenting A Life in the Theatre at the Gaslight Theater until December 22, 2019
St. Louis Actors’ Studio’s new season is titled “2 to Tango”, featuring a complete line-up of two-character plays. This concept strikes me as a particularly strong opportunity to highlight the dynamics of various relationships as well as serving as a showcase for actors. The season’s first offering, Michael Weller’s Fifty Words certainly provides that showcase, with an excellent pair of actors displaying their range in the portrayal of a complex and often combative marital relationship.
There isn’t much, if anything, in this story that hasn’t been done before in other “marriage story” works, and the revelations that enfold in this play aren’t entirely surprising. Still, the plot isn’t as much the point here. This show is more about power dynamics, and what makes this relationship tick, and I think it does manage a sort of surprise near the end, depending on the viewer’s perspective. It follows a married couple, Adam (Isaiah Di Lorenzo) and Jan (Julie Layton), both professionals who are devoted to their careers, as well as parents of a young son who is out of the house spending the night away at a friend’s house for the first time. Adam and Jan apparently haven’t had an evening alone together since their son was born, and they are trying to make the most of the time, although they appear to have different agendas. Adam seems to be all about making the most of the romantic (and sexual) possibilities of the evening, while Jan seems to be more focused on finishing an important project for work. Their contrasting personalities–the more spontaneous Adam and the more goal-focused Jan–are a catalyst for some of the drama, but as more information is revealed about Adam’s upcoming business trip, about their history as a couple, and about their approaches to parenting, more is revealed about both characters and the nature of their relationship. It’s an exploration of the challenges of modern married life and the conflicting commitments of parenting and career, as well as looking at some of the more stereotypical assumptions that come from those commitments for husbands and for wives. Through the course of the evening, there are ups and downs, revelations and reactions, confrontations and contrasts, but overall this is a game of balances and who, ultimately, holds the power in the relationship.
This is a fine character study, with some intense moments, although both characters aren’t particularly easy to like. Still, this script has some sharp insights into what a marriage between these two personalities would be like, and it’s a particularly strong showcase for the performers, who in this production are both superb, and impressively well-matched. Di Lorenzo brings the calculating, trying-to-be-charming energy and Layton’s more initially aloof exterior carries a range of emotions below the surface. The combination of the two is dynamic, occasionally volatile, and entirely credible. The drama here is these two, and both performers rise to the challenge of the script, providing the play’s emotional weight in the varacity of their relationship.
The production values are, as is usual for STLAS, excellent. I’m continually impressed by how well this company uses its small stage space, here recreating a small-ish New York apartment with care and detail in Sammy Kriesch’s meticulous set. There’s also excellent work from lighting designer Steve Miller, sound designer John Pierson, props designer Jenny Smith, and costume designer Andrea Robb. Pierson’s staging is well-measured, bringing out the gradually building tension of the piece and the relationship.
I’m looking forward to the rest of the season from STLAS. There are some intriguing productions lined up. The starter, Fifty Words, is essentially successful in the pure strength of the casting and the dynamic between these two caustically contrasting characters. It’s worth seeing for the sheer quality of the performances.
Julie Layton, Isaiah Di Lorenzo Photo: St. Louis Actors’ Studio
St. Louis Actors’ Studio is presenting Fifty Words at the Gaslight Theatre until October 6, 2019
