Posts Tagged ‘st. louis shakespeare festival’

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

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

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

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

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

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

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

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

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

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

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

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

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

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STLSF Brings Shakespeare to the Zoo with Sweet-Natured, Hilarious “Romeo & Zooliet”

Posted in St Louis Theatre, tagged , , , , , , , , on July 16, 2025| Leave a Comment »

Romeo & Zooliet
by Jennifer Joan Thompson
Directed by Tom Ridgely
St. Louis Shakespeare Festival
July 11, 2025

Ricki Franklin, Jordan Moore
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival has performed its productions throughout the St. Louis area, including its main stage productions in Forest Park, to its Shakespeare in the Streets shows in specific neighborhoods, to its TourCo shows throughout the region. Now, the Festival is celebrating Shakespeare’s work in a new location–the St. Louis Zoo, with a fun new comedy adapted from one of the Bard’s most well-known tragedies. Romeo & Zooliet, written by Jennifer Joan Thompson and directed by Tom Ridgely, is decidedly more upbeat than its inspiration, and its focus on its location and a menagerie of fantastically crafted animal puppets adds much in the way of entertainment value, as do the lively performances by an enthusiastic and talented cast. 

The show makes the most of the Zoo setting with an outdoor amphitheater set up in the middle of the Zoo’s Historic Hill area, featuring Scott C. Neale’s colorful and whimsical set representing a stage labelled “The Glowb” in reference to Shakespeare’s theatre, the Globe, but made by zoo animals who aren’t the best at spelling. The story is essentially a more “family friendly” version of Romeo and Juliet, enacted after hours at the zoo after all the humans have gone home, narrated by Peter the penguin (Ryan Omar Stack, Rae Davis) along with young penguin Penny (Genevieve Mazzoni, Sophia Stogsdill) and cousin Puff (Bryce Cleveland, Rian Page), a puffin. These three watch from the sidelines and reappear to comment at various times throughout the story, which follows the Shakespearean tale in a general sense, but made more upbeat and whimsical. The feuding factions here are Herbivores and Carnivores, with Romeo (Jordan Moore) being a prairie dog looking to find a BFF he can have endless playdates with, after having been rejected by Rosaline, a flamingo. He and his buddy Mercutio the red panda (Jacob Schmidt) end up crashing a “Carnivore Party” held by grizzly bear Lady Capulet (Nisi Sturgis), who is intent on setting up her daughter Juliet (Ricki Franklin) with “apex predator” Paris the alligator (Ryan Omar Stack) as a new Best Friend, but he seems more interested in her as food, and Juliet isn’t so sure she wants to be a carnivore anyway. When she and Romeo meet, of course the sparks fly, and they are determined to be Best Friends Forever. Of course, there are obstacles, and Juliet’s hippopotamus Nurse (Olivia Scicolone) and Friar Lawrence, an owl (Jeff Cummings), try to help while Juliet’s tiger cousin Tybalt (Rae Davis) tries to interfere. 

The story basically follows the original plot, with some clever and often hilarious modifications in keeping with the more comic and family friendly tone. I don’t think it’s a spoiler, for instance, to say that nobody dies in this version, but the alternatives are appropriate and add to the overall story and animal characterizations, and still contribute well to the overall moral of putting aside petty quarrels and loving people for who they are.

The portrayals here are marvelous, as well, with Moore’s Romeo given a sweet, lovably emotional characterization and some winning moments including a show-stopping “Shakespeare’s greatest hits” monologue towards the end of the show. Moore’s interactions with Franklin’s lively and likably fierce Juliet are a highlight as well, as are Sturgis’s domineering Lady Capulet, Scicolone’s devoted Nurse, Cummings’ wise but somewhat bumbling Friar Lawrence, and Schmidt’s excellent dual turn as the mischievous Mercutio and slow-moving tortoise Friar John. Stack is also a treat in three roles as Peter the penguin, the sea lion Prince of Zoorona, and the ravenous Paris–who is more interesting here than his usually bland characterization in the original play. Davis makes the most of the role of the belligerent Tybalt, as well, and the child performers are also excellent. It’s a cohesive ensemble that makes the most of all of their roles, and expertly operate their elaborate, remarkably detailed puppets designed and created with impressive flair by Michael Curry Design.

The other technical aspects of the production are also superb, with memorable costumes by Raquel Adorno, mood-enhancing lighting by Jesse Klug, and strong sound design by Stephen Ptacek. There’s also a fun musical score by Jeffrey “JQ” Qaiyum, energetic choreography by Sam Gaitsch, and exciting fight choreography by Zev Steinrock. The outside setting at the Zoo provided an ideal backdrop for the show, as well, with the sounds of real animals sometimes being heard, and the real prairie dog and sea lion habitats nearby, that spectators pass on their way to the performance area.

Having the show outdoors also presents a challenge, considering the sometimes hard to predict St. Louis summer weather, and there was a small stoppage for rain on opening night, but it was handled well, and the audience was treated to a fun rain delay playlist of songs as they waited for the show to resume. There was also a bit of a technical issue with the sound late in the show, but that was also handled especially well by the cast and crew. 

The whole spirit of Romeo & Zooliet is one of hope, friendship, and reconciliation, with the whimsical, childlike tone of the story doing well to carry the themes and message of the story. The characters are especially memorable, as well. It’s an immensely entertaining blend of animals, nature, humanity, and the magic of theatre.

Ryan Omar Stack, Nisi Sturgis (on stage), with Set and Audience
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting Romeo & Zooliet at the St. Louis Zoo until August 17, 2025

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Melancholy, Moody, and Modern “Hamlet” From STLSF Illuminates Forest Park

Posted in St Louis Theatre, tagged , , , , , on June 10, 2025| Leave a Comment »

Hamlet
by William Shakespeare
Directed by Michael Sexton
St. Louis Shakespeare Festival
May 30, 2025

Michael Khalid Karadsheh, Jennifer Ikeda, Glenn Fitzgerald and Cast
Photo by Phillip Hamer
St. Louis Shakespeare Festival

I love how versatile Shakespeare is. I’ve seen so many wildly different productions of the same plays over the years, and many of them have been marvelous. This latest production of Hamlet by St. Louis Shakespeare Festival, directed by Michael Sexton, is the Festival’s second. While their previous version, staged in 2010, was fantastic, this latest version couldn’t be more different but is also superb, and stunningly staged in the outdoor setting of Forest Park’s Shakespeare Glen. While the earlier version was a more “traditional” staging, this one has a stylish, Mid-Century Modern flair and some inventive staging choices that bring an air of challenging immediacy to the timeless classic play. 

As one of the Bard’s best-known plays, the story is fairly well-known, following the melancholy Danish prince Hamlet (Michael Khalid Karadsheh) as he is challenged by the ghost of his late father, the King (Larry Paulsen) to avenge the King’s murder by his brother, Hamlet’s uncle Claudius (Glenn Fitzgerald), who has also married the King’s widow, Hamlet’s mother Gertrude (Jennifer Ikeda). Supported by his friend Horatio (Reginald Pierre), Hamlet embarks on his revenge plan, while also adopting an air of “madness” that puzzles the court and disturbs those around him, including his sometimes love interest Ophelia (Sarah Chalfie) and her father, Claudius’s loyal and somewhat foolish counselor Polonius (Mark Nelson). With efforts involving a troupe of traveling players, Hamlet’s school friends Rosencrantz (Mitchell Henry-Eagles)  and Guildenstern (CB Brown), and Ophelia’s brother, Polonius’s son Laertes (Grayson DeJesus), the plan inevitably devolves into tragedy, with much reflection, hesitation, impulsive actions, and philosophizing along the way.

This is a well-known, much-studied classic for good reason, as there is much to ponder here for various audiences, generations, and cultures. This version adds an air of style and elegance, with a degree of dissonance provided by a haunting jazz-influence score by music director/composer Brandon Wolcott and memorably performed by onstage musician Brady Lewis. The set by Scott C. Neale is visually stunning and moveable, lending to some clever staging especially in the scene where Hamlet confronts his mother Gertrude in her chamber, where the action is largely shown from the point of view of the spying Polonius. The red and black color palate is also striking, augmented by other colors reflected in Oana Botez’s richly detailed costumes and Denisse Chavez’s evocative lighting. There’s also excellent work by choreographer Sam Gaitsch and fight and intimacy coordinator Zev Steinrock, contributing to the overall dynamic tone of the production.

Casting is key in Hamlet, particularly in the title role, and this production has chosen a Hamlet who leads with youth, energy, and emotion. Karadsheh is an ideal lead for this iteration of the story, bringing a dynamic and reflective presence that is both challenging and relatable. Hamlet drives the action here, and all the other characters are energized in their responses to Karadsheh’s bold interpretation. There are also strong turns from Chalfie as the tragic, conflicted Ophelia, Ikeda as a somewhat detached Gertrude, Fitzgerald as an evasive, scheming Claudius, Nelson as the well-meaning but somewhat buffoonish Polonius, Paulsen in several roles including the Ghost and the Gravedigger, and Pierre as the faithful Horatio. Special note is also due to DeJesus, who turned in a strong, fully-realized performance as Laertes after taking over the role from an injured Vaughn Pole at essentially the last minute. There’s also excellent support from the rest of the ensemble, including Brown, Henry-Eagles, Max Fiorello, Daisy Held, Charlie Mathis, and Ryan Omar Stack. 

The “Shakespeare in the Park” productions from STLSF are usually excellent, and this Hamlet is no exception, with an extra air of Mid-Century style and emotional immediacy. This is my favorite Shakespeare play, and the Festival has done it justice once again. There’s plenty of time to get to the Glen and see it before it fades into the mist of memory. 

Reginald Pierre, Larry Paulsen, Michael Khalid Karadsheh
Photo by Phillip Hamer
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival is presenting Hamlet in Forest Park’s Shakespeare Glen until June 22, 2025

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STLSF’s TourCo Entertains Up a Storm with Fast-Paced, Streamlined “Tempest”

Posted in St Louis Theatre, tagged , , , , , , , on August 10, 2024| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Tom Ridgely
St. Louis Shakespeare Festival TourCo
August 9, 2024

Alex Daspit, Daisy Held and Cast
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival’s TourCo is kind of like having a Shakespeare performance in your backyard. This year, with their production of The Tempest, it’s almost literally in my backyard, or close enough, since the location where I saw it was within easy walking distance for me. For others, there are a variety of locations it can be seen throughout the St. Louis Louis area, including various parks and other spaces. No matter where you have to drive–or walk–it’s well worth checking out, because this six-actor production with music, quick costume changes, and magnificent puppets is a wonder to see and hear.

This is a streamlined production that runs 90 minutes with no intermission, along with a fun intro in which the actors introduce themselves and the roles they play, along with giving a short description of the show and some examples of dialogue. Then, the story gets going in fast-paced fashion, as Prospera (Joy Christina Turner) and her daughter Miranda (Daisy Held) have been isolated on an island for years after being deposed by her brother Antonio (Reginald Pierre) and Alonso (Alex Daspit), the King of Naples. There, Prospera has taken up the magic arts and taken the spirit Ariel (Aliyah Jacobs) and Caliban (Isaiah Di Lorenzo) into servitude. Eventually, a ship containing Alonso and Antonio, along with Antonio’s son Ferdinand (also Daspit) is shipwrecked on the island, and father and son are separated, not knowing if the other has made it to shore alive. Ferdinand meets Prospera and Miranda, instantly falling in love with the latter–and the feeling is mutual. Meanwhile, butler Stefano (Pierre) and court jester Trinculo (Held) are stranded on another part of the island and meet with the disgruntled Caliban, who enlists them in a plot against Prospera. Eventually, of course, all the parties are going to meet, but much confusion, hilarity, and reflection ensue in the meantime. 

This is a fun, fast-moving production with some quick costume changes, and wonderful use of puppetry, with dazzling puppets designed by Ryan Marshall and operated by the actors. There’s clever staging to account for the fact that there are only six performers each playing multiple roles, and clever costumes designed by Sam Hayes that work well with the quick changes. There’s also excellent use of music and sound, as performers use various instruments for sound effects and accompaniment, and cast members Jacobs and Turner each get moments to showcase their excellent vocals.

The cast is energetic and cohesive, working well together and managing the quick character changes with style. Turner as Prospera projects a strong air of authority, as well as a range of emotions as the story progresses. Held is also strong as the somewhat innocent Miranda and the comical Trinculo. Daspit does well with the distinction between father and son, switching between Alonso and Ferdinand through the donning and doffing of a crown. Daspit and Held as the young lovers display believable and sweet chemistry, as well. There are also strong turns from Pierre and Di Lorenzo in their dual roles, as well as Jacobs, who is marvelous as the ethereal Ariel. 

TourCo is such a great idea, and this production works well with their format of small-cast, portable shows that can be performed in a variety of spaces. It works  as “entry level” Shakespeare for newbies, or a fun version for seasoned fans of the Bard, as well. With truly stunning puppet work and  excellent cast and technical effects, this Tempest is sure to entertain. 

Joy Christina Turner
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Lous Shakespeare Festival’s TourCo will be presenting The Tempest in various locations throughout the St. Louis area until August 25, 2024

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STLSF Brings Delightful, Melodic “As You Like It” to Forest Park

Posted in St Louis Theatre, tagged , , , , , , , on June 4, 2024| Leave a Comment »

As You Like It
by William Shakespeare
Directed by Nancy Bell
St. Louis Shakespeare Festival
May 31, 2024

Bianca Sanborn, Michelle Hand, Riley Carter Adams, Beth Bombara
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

As You Like It is my favorite Shakespeare comedy, possibly tied with Much Ado About Nothing. I’ve seen many productions over the years, staged in various ways. In terms of what St. Louis Shakespeare does in Forest Park every year, this seems like one of the most ideal for staging among the trees in Shakespeare Glen. This year’s show is simply fantastic, marked by excellent production design, superb music, and a stellar cast and crew including a lot of local talent. 

I can’t overstate how ideal this setting is for this show. The colorful, 19th Century styled set by Scott C. Neale highlights the rustic, forested area in which it is placed, and the costumes by Dottie Marshall English as delightfully whimsical and detailed, also with an early Victorian flair. There’s also wonderfully atmospheric lighting by Denisse Chavez. The music is also handled with true excellence as well, with locally-based singer-songwriter Beth Bombara serving as music director and composer, as well as playing the role of Amiens, who travels with Duchess Senior (Michelle Hand) and her band of wandering ladies. The folky style of the songs works well for the bucolic setting, and Bombara’s guitar and voice, backed by an excellent on-stage band, provides a marvelous soundtrack for the charming, humorous tale. Young Riley Carter Adams, as another of the Duchess’s followers, also has a memorable singing moment.

If you’re familiar with the story, you’ll already have noticed that there’s a bit of gender-bending in this production, and more so than there already was in the script. Duke Senior is now a Duchess, and Touchstone the clown (Ricki Franklin) is also portrayed as a woman, as are most of the Duchesses’s followers, except for the melancholy Jaques (Wali Jamal), whose philosophical musings are still a highlight of the show. The usurping Duke Frederick (Joel Moses) is still here banishing his niece Rosalind (Caroline Amos) from his kingdom, where she disguises herself as a young man, Ganymede, accompanied by her best friend and cousin Celia (Jasmine Cheri Rush), who calls herself Aliena. There, the also-banished Orlando (Christian Thompson)–who had met Rosalind at court and fell in love at first interaction–wanders the forest hanging overwrought love poems on the branches, and Rosalind-as-Ganymede promises to help him forget his love by engaging in a game of witty banter wherein she “pretends” to be Rosalind. Meanwhile, devoted shepherd Silvius (CB Brown) pines after the vain Phoebe (Molly Wennstrom), who is annoyed by the shepherd’s attentions and finds herself attracted to Rosalind-as-Ganymede. Also, Touchstone indulges in a flirtation with the forest-dwelling, goat-keeping Audrey (Bianca Sanborn). These are just the most prominent plots–other threads involve the menacing wrestler Charles (Lenny Mephisto) who is surprisingly bested by Orlando, Orlando’s imperious older brother Oliver (Greg Cuellar), Orlando’s faithful servant Adam (Joneal Joplin) and more. It’s a lively witty, occasionally romantic story that portrays a variety of relationships, as well as musings on life and love, with a few sudden surprises thrown in for good measure.

The cast is superb, led by the eminently likable Amos in a memorable turn as Rosalind, who carries the main plot of the show with confidence and displays excellent chemistry with Thompson’s charming Orlando and Rush’s gutsy Celia. Franklin is also hilarious as Touchstone, memorable in scenes with Rosalind and Celia, as well as with the equally memorable Jamal as the moody, philosophical Jaques, and with the hilarious Sanborn as Audrey. Wennstrom and Brown also make for a humorous duo as Phoebe and Silvius, and professional wrestler Mephisto makes a suitably skilled and menacing Charles. There’s strong support from the entire cast, as well, including a scene-stealing goat! 

As You Like It is a comic triumph for St. Louis Shakespeare Festival. The wonderful cast and creative team, led by director Nancy Bell, fills the Glen with music, humor, romance, and charm. Despite a late start due to weather, the show moved along at a brisk pace and filled the time with magical energy. It’s another great success for this consistently excellent company.

 

Jasmine Cheri Rush, Christian Thompson, Caroline Amos, Wali Jamal
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting As You Like it in Shakespeare Glen in Forest Park until June 23, 2024

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Three Memorable New Shows Feature Inventive Staging, Strong Casting

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , , , , , , , , , on November 28, 2023| Leave a Comment »

The fall-into-winter theatre season is in full swing in St. Louis. With the Holiday season starting up, and a host of new productions getting ready to open, there’s a feast of options on stage for theatre fans to enjoy. Here are short reviews of three recent productions–one recently closed, but two still running, that all feature strong casting and some clever staging, with two being literary adaptations, and one exploring the inner life of a struggling writer. 

Elektra: Elektra’s Version
Based on the play by Sophocles, translated by Anne Carson
Directed and Designed by Spencer Lawton
November 16, 2023

Maida Dippel (Center, on bed) and Cast
Photo: Critique Theatre Company

Director Spencer Lawton has brought together an enthusiastic cast for a new look at the classic Greek tragedy Electra as filtered through the lens of early 2010’s Tumblr culture and the Marina and the Diamonds Album Electra Heart. With some input from the cast and from local artist/director Lucy Cashion–who is known for these kinds of literary re-imaginings–Lawton’s production is a cleverly staged, well-cast show that provides much to think about, as well as making the most of its space at the fun new venue, Greenfinch Theater and Dive. 

The venue is great for this staging, providing a blank canvas of sorts on which the artists can present their vision. The cast, led by Maida Dippel as the brooding, vengeful Elektra, is in excellent form, with several of the actors playing more than one role. The ensemble is especially strong and cohesive, including Katie Orr, Victoria Thomas, Miranda Jagels-Félix, Celeste Gardner, Alicen Kramer-Moser, Laurel Button, and Emma Glose, with similarly costumed Ross Rubright and Anthony Kramer-Moser as “The Man Parade”. 

While there’s a lot going on here, and sometimes it could be hard to follow–especially at a point in which most of the cast members are speaking at once–this is a fascinating staging with a lot to think about, especially in terms of the often conflicting messages that society presents to teenage girls. It’s got drama, dark comedy, and lots of attitude, as well as a sense of social critique that seems fitting considering the name of this theatre company. The stylized look of the characters and costumes–influenced by the Electra Heart album–also contributes to the distinctive style of this show. 

It’s a compelling production, and I hope it has a life beyond the one weekend it played at Greenfinch. 

Q Brothers Christmas Carol
Based on the Novella by Charles Dickens
Written by Q Brothers Collective (GQ, JQ, JAX, POS)
Developed with Rick Boynton
Music Composition by JQ
Directed by Q Brother Collective (GQ, JQ, & JAX)
November 24, 2023

Garrett Young, Mo Shipley, Victor Musoni, Maya Vinice Prentiss
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The Q Brothers Collective has had a relationship with St. Louis Shakespeare Festival for a few years now, starting with their hilarious production of Dress the Part in early 2020. The Festival has now brought the Chicago-based company’s lively, hip-hop-influenced Q Brothers Christmas Carol to town in a memorable, eye-catching staging at the National Blues Museum downtown. With an energetic, musical staging featuring DJ Stank (Mel Bady) spinning the tunes, this is an update of a classic that brings a lot of humor, heart, and style.

With a cast of just four actors, this show’s comedy benefits a lot from all the quick changes and the fact that most of the actors are playing multiple characters. With Garrett Young as the miserly Ebenezer Scrooge, the story plays out essentially as expected, but with many modern twists and jokes. Young is especially effective as Scrooge, making the character’s journey believable, and working well with co-stars Victor Musoni, Mo Shipley, and Maya Vinice Prentiss, who each play a variety of roles, from the various ghosts, to townspeople, to figures from Scrooge’s past, present, and future. It’s a fast-paced show with a memorable musical score and a modern festive spirit. 

It’s also a great-looking show, with excellent costumes by Erika McClellan, scenic design by William Attaway, lighting by Jesse Klug, and sound by Stephen Ptacek. The staging is quick and lively, and the update is decidedly 21st Century, with a tone that I would characterize as PG-13-ish in terms of language and subject matter. It works very well in the space at the Blues Museum, with a themed bar set up for before the show. It’s a good way to start off the holiday season in a theatrical way.

St. Louis Shakespeare Festival is presenting Q Brothers Christmas Carol at the National Blues Museum until December 23. 

Leannán Sidhe
by Deanna Strasse
Directed by Sean Belt
First Run Theatre
November 26, 2023

Matt Hanify, Tanya Badgley
Photo by David Hawley
First Run Theatre

First Run Theatre’s mission of presenting world premiere productions of shows by Midwestern playwright’s continues, staging Milwaukee-based playwright Deanna Strasser’s play Leannán Sidhe, an intriguing look at the life of an ambitious playwright who, Strasser admits in the program notes, is based on herself. Directed by Sean Belt and featuring a small, effective cast, this is a well-staged production to which I think a lot of artists–and especially writers–may relate, even if they don’t go as far as the main character does in retreating into a fantasy that threatens to take over her life. 

Mya Sraid (Tanya Badgley) is a playwright whose life isn’t exactly going the way she would like it to, considering producers keep wanting her to write farces, and her friends all seem to want to bring her to productions of the same old plays because they know people in the cast and/or crew. Her house is a mess, as her friend Jessica (Amie Bossi) notices when she arrives for an outing to a production of The Music Man that Mya has been dreading, and the audience is made to wonder who that guy in the background is who is doing dishes seemingly without being noticed. After Jessica leaves, we find out that the “background guy” is actually Vincent Thane (Matt Hanify), an actor Mya saw in a recent production and has become obsessed with. Well, this guy isn’t actually Vincent, but an imaginary version of him that Mya has invented to be her fantasy lover and artistic muse. He’s there to be able to dance in the rain (produced at whim by Mya’s imagination) to Etta James’s “At Last” and spout encouraging words to her, admiring the always-full moon out the window and serve as inspiration for Mya’s latest play, which is a drama for once, and not a farce. Soon, though, we find that even the imaginary Vincent is starting to protest, and not behave exactly as Mya would wish, as Mya’s apartment gets messier, and her real-life friends grow concerned.

The staging here is effective, with a simple set by Brad Slavik, as well as props and set decoration by Gwynneth Rasuch and Denise Mandle that lend a sense of realism to the proceedings. There’s also excellent lighting by Michelle Zielinski and sound by Leonard Marshell, bringing the world of Mya’s apartment, and the world inside her mind, to life and aiding the strong performances of the cast, led by Badgley in a relatable performance as Mya, whose descent into fantasy and flirtation with the darker sides of her imagination is believable and compelling. There’s also good support from Hanify as the not-so-perfect dream lover Vincent, and Bossi as the convincingly concerned Jessica. 

This is a show that explores issues that I think a lot of writers and creative people face, as well as looking with a bit of critical eye on “celebrity worship” culture as well as dealing with the subjects of depression and social detachment. It’s an intriguing and promising new work. It’s running for one more weekend, so there’s still a chance to check it out.

First Run Theatre is presenting Leannán Sidhe at the Kranzberg Arts Center until December 3, 2023

 

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STLSF Brings Informative, Enjoyable “Game’s Afoot” to the Streets

Posted in St Louis Theatre, tagged , , , , , , , on September 19, 2023| Leave a Comment »

The Game’s Afoot
based on William Shakespeare’s Henriad
Written by Benjamin Hochman
Directed by Adam Flores
St. Louis Shakespeare Festival’s Shakespeare in the Streets
September 14, 2023

Jailyn Genese, Keating, Summer Baer, Jack Kalon
Photo by Phillip Hamer
St. Louis Shakespeare Festival

Shakespeare in the Streets has returned, but it was a little different this year. For the latest installment of St. Louis Shakespeare Festival’s annual melding of Shakespeare and St. Louis neighborhoods, the focus is more on a citywide sports tradition than any specific area of the city.  The Game’s Afoot, written by Benjamin Hochman, directed by Adam Flores, and based on Shakespeare’s Henry IV, parts 1 and 2, and Henry V, took a loving and whimsical look at the city’s long love affair with soccer, and how the sport has shaped the city’s culture and facilitated both rivalry and unity among players and fans alike.

The setting for this show was part of its appeal, in addition to the informative story and great cast. The stage was set up on a side street adjoining the parking lot of Schlafly Taproom, with the looming, stylish presence of CityPark clearly visible in the background. Scott Neale’s clever, multilevel set included a representation of a soccer field and provides an appropriate setting for the wide-ranging story that spans several neighborhoods and decades of St. Louis soccer history. There was also a smattering of local humor (including the manner of time travel) that added to the very St. Louis character of the story. Some eye-catching costumes by Shevaré, striking lighting design by M. Bryant Powell, and mood-setting percussion provided by one of the local soccer supporting squads, Fleur De Noise also contributed to the overall atmosphere and lively spirit of the show.

As for the story, it mostly followed Hal (Jack Kalan), a young soccer prodigy coming of age in the 1970s, who initially would rather hang out in bars with his hard-partying friends Falstaff (Keating), Pistol (Jailyn Genyse) and Nym (Victor Mendez) than seriously apply himself to becoming St. Louis’s next “Soccer King”. Instead, cocky upstart and rival Hotspur (Thomas Patrick Riley) challenged Hal for the crown, and the media attention. There story also featured a time-traveling Scout (Lynn Berg) assembling the soccer greats from various eras, and lots of mentions of the various major soccer events over the years, such as the 1950 US team that featured several St. Louis players, and the highlights and stars of various professional and school teams over the past few decades.

It’s a streamlined story both in terms of soccer history and the Shakespearean source material, so the show was probably easier to enjoy for audience members familiar with one or both of these subjects. Still, I had a lot of fun, and the performances were strong across the board, led by Kalan and Riley as the rivaling local soccer heroes, and Keating as the fun-loving Falstaff, along with great turns by Summer Baer as a local supporter who grows from enthusiastic young fan to equally enthusiastic “soccer mom”, Genyse, Mendez, and Tara Bopp in various roles, and Berg as the time-traveling scout. There were also some fun surprises with appearance by some local soccer personalities.

Ultimately, this was a fun celebration of soccer in St. Louis and and enthusiasm for the sport and the city alike, even despite various challenges and hardships over the years. St. Louis Shakespeare is a clever, unique tradition, and this latest entry in the series is more entertaining evidence that St. Louis and Shakespeare go together well. 

Cast of The Game’s Afoot
Photo by Phillip Hamer
St. Louis Shakespeare Festival

This review was originally published at kdhx.org

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Quick Changes and 90s Vibes Abound in STLSF’s Fun “Merry Wives”

Posted in St Louis Theatre, tagged , , , , , , , , on August 15, 2023| Leave a Comment »

Merry Wives
by William Shakespeare
Directed by Suki Peters
St. Louis Shakespeare Festival’s TourCo
August 8, 2023

Michelle Hand, Rae Davis, Carl Overly Jr., Mitchell Henry-Eagles, Christina Yancy
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

Imagine if The Merry Wives of Windsor was a 1990’s sitcom. That’s the premise of Merry Wives, St. Louis Shakespeare Festival’s TourCo show that’s running (for free) in various parks and other locations in the St. Louis area throughout the month of August. With a small, energetic and versatile cast, and some fun production elements, this is an entertaining Shakespearean update, even if it is a bit on the long side.

As is true for a lot of Shakespeare’s comedies, Merry Wives involves a lot of trickery and mixed-up romances. It also involves a popular character from some of the Bard’s history plays that he brought back, Sir John Falstaff, played here by Carl Overly, Jr. The swaggering, party-loving Falstaff has made the mistake here of trying to woo two women at once–Mrs. Page (Michelle Hand) and Mrs. Ford (Christina Yancy)–who are too clever for his own good. Upon discovering that Falstaff has sent the same letter to both of them, the two women set out to play a trick on the knight that involves a lot of hilarious hijinks. Meanwhile, the jealous Mr. Ford (Joel Moses) sets out to expose his wife’s supposed treachery by disguising himself and asking Falstaff for “help”, and the Pages’ daughter Anne (Rae Davis) deals with a trio of varying suitors all played by Mitchell Henry-Eagles, with expected mix-ups and hilarity ensuing in that plot, as well. 

The sitcom structure works well here, with a fun soundtrack provided for the transition scenes, and a host of 90’s pop-culture references thrown in for good measure. The cast is excellent, with great enthusiasm and comic timing, and a whimsical production design by Laura Skroska with clever costumes by Kayla Lindsey. The approximately 90-minute runtime is a bit long for a sitcom, and it might have benefited from a little bit of trimming. Still, the whole cast and crew manage to keep up the spirit of the show throughout. Overly, as the only cast member who doesn’t play multiple roles, is an energetic Falstaff, and the rest of the players are commendable in their sheer versatility. 

I love the TourCo shows because they are so accessible. It’s not just free Shakespeare, like the headline shows in Forest Park each year. These are shows that go to various different venues throughout the region. I saw Merry Wives in Tower Grove Park, and if you look at STLSF’s website, you will find the schedule and locations for the rest of the run. It’s more than worth checking out. Even with its slightly long runtime for a show of this format, it’s a lively, fun production that’s easy to enjoy, especially for fans of 1990’s sitcoms and pop culture. 

 

Rae Davis, Mitchell Henry-Eagles, Joel Moses
Photo by Phillip Hamer Photgraphy
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival’s TourCo is presenting Merry Wives in various locations until August 29. 2023

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A Vibrant, Melodic “Twelfth Night” from St. Louis Shakespeare Festival

Posted in St Louis Theatre, tagged , , , , , on June 7, 2023| Leave a Comment »

Twelfth Night
by William Shakespeare
Directed by Lisa Portes
St. Louis Shakespeare Festival
June 2, 2023

Clave Sol (band) led by Philip Gomez, Esteban Andres Cruz, Cassidy Flynn, Alisha Espinoza, Ricki Franklin
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

I’ve said it before, and I’ll say it again–I love how versatile Shakespeare’s plays are in terms of staging. Their being in the public domain gives directors much freedom in terms of how to present the plays, and while I’ve seen many great stagings that are more on the “traditional” side, I love modern dress presentations and re-imaginings, because I think that these versions can do a lot to help modern audiences relate to Shakespeare’s stories and characters, as well as bringing the meaning of his dialogue to life in a fresh, contemporary way. St. Louis Shakespeare Festivals latest production of the comedy Twelfth Night in Forest Park is an excellent example of how this more modern approach can work so remarkably well. 

The whole vibe of this piece is fantastic. The traditional setting has given way to a modern Miami-inspired look and feel, with lots of excellent Latin music arranged by music director and sound designer David R. Molina and played by the terrific onstage band, Clave Sol, led by Phil Gomez. Also featured are the excellent vocals of Esteban Andres Cruz, who plays Feste, the “fool” who is more of a minstrel, really. The story is the familiar one, of a shipwreck that separates twins Viola (Gabriela Saker) and Sebastian (Avi Roque) and the mixed-up romances involving Duke Orsino (Felipe Carrasco) and Olivia (Jasmine Cheri Rush); along with more hijinks in the form of the plotting by Olivia’s hard-partying cousin Toby, called Dame Toby here (Ricki Franklin), along another would-be suitor of Olivia’s, Sir Andrew Aguecheek (Cassidy Flynn), and Olivia’s assistant Maria (Alisha Espinosa), who play a trick on Olivia’s stuffy security man Malvolio (Ryan Garbayo). The comedy is fast-paced and fun, and the setting, based in the largely Cuban-American culture of Miami, works especially well here.

The look, style, and tone of the production is excellent, from Regina García’s stylish set to the vibrant, eye-catching costumes by Danielle Nieves, to John Wylie’s striking lighting design. The pacing is quick and energetic, and the excellent music provides an ideal mood to the proceedings. 

The performances are top-notch, led by the engaging Saker as an appropriately bewildered but strong-willed Viola. Her scenes with the equally strong Rush as the haughty Olivia and Carrasco as the determined Orsino are highlights. There are also delightful comic performances from Franklin and Flynn as the scheming pair of partying pals, Dame Toby and Andrew Aguecheek, along with memorable support from Espinosa as Maria, and a marvelous turn by Garbayo as the hilariously duped Malvolio. There’s a strong cast all around, providing a strong sense of ensemble chemistry that adds to the overall comic mood and contemporary air of the production. 

This Twelfth Night is vibrant, energetic, at turns bawdy and slapstick-ish, and just a pure delight from start to finish. It’s an excellent example of how Shakespeare can be adapted to different settings and cultures, all the while still highlighting the themes and characters of the story. And it’s free. This “Shakespeare in the Park” entry from STLSF is a great way to start off the summer theatrical season. 

Jasmin Cheri Rush, Gabriela Saker
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival is presenting Twelfth Night in Forest Park’s Shakespeare Glen until June 25, 2023

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STLSF’s TourCo’s Dream of a “Midsummer” is Lots of Fun, and Free!

Posted in St Louis Theatre, tagged , , , , , , on August 17, 2022| Leave a Comment »

A Midsummer Night’s Dream
by William Shakespeare
Directed by Tre’von Griffith
St. Louis Shakespeare Festival TourCo
August 16, 2022

Cast of A Midsummer Night’s Dream
Photo: St. Louis Shakespeare Festival

Simply put, the St. Louis Shakespeare Festival’s TourCo production of A Midsummer Night’s Dream–currently touring various parks and public areas in the metro area–is a whole lot of fun. With a small cast playing various roles, eye-catching costumes and a catchy musical score, this is a Midsummer like you won’t have seen before, but you should see it, because not only is it unique, fresh, and fun–it’s also free!

Described on STLSF’s website as a “highly musical Afro-futurist adaptation”, this production was directed by Tre’von Griffith, who also composed the music and designed the sound. There’s a lot of plot going on here if you are familiar with this show’s story, and six cast members may not seem like enough, but these actors are more than up for the challenge, each playing multiple roles with energy, enthusiasm, and great comic timing. There are also memorable, futuristic costumes with occasional steampunk influences by Brandin Vaughn that add an additional air of whimsicality to this production. Modern touches like cellphones and characters filming TikTok videos of each other (and themselves), also add to this fresh take on the source material, which has been streamlined to run about 90 minutes. It’s fast-moving, hilarious, and full of memorable performances by the entire cohesive ensemble–Tiélere Cheatem, Rae Davis, Ricki Franklin, Asha Futterman, Mel McCray, and Christina Yancy. 

All the players are excellent here as the action moves swiftly between three different stories–of mixed-up lovers, mischievous fairies, and ambitious actors–and although it does help to know the story beforehand, the players do an excellent job of setting up the plots in the introduction, as well as playing out the story with clarity and vibrancy. Although everyone is excellent, and commendable as each performer plays more than one role, there are some standouts. Franklin shines especially as the self-promoting, overacting weaver-turned actor Nick Bottom. Yancy as both the sprightly Puck and the shy Snug (who has to play a lion in the play-within-a-play) is also a standout, as is Cheatem particularly in the roles of the lovelorn Helena and the imperious director of the actors, Peter Quince. It’s such a strong ensemble, and everyone seems to be having a great time acting out this fast-paced, laugh-packed story that also features some memorable hip-hop/r&b/pop influenced music. 

I was able to see the production in the parking lot of Schlafly Bottleworks, which proved to be a great location, accommodating a good-sized crowd with plenty of room. For the rest of the performances, the company will be traveling around the St. Louis area, with times, dates, and locations listed on the STLSF website at this link. Even if you’ve seen this play before, I highly recommend checking it out. You’re in for some fun surprises, and a particularly strong cast. 

 

Rae Davis, Ricki Franklin
Photo: St. Louis Shakespeare Festival

St. Louis Shakespeare Festival’s TourCo production of A Midsummer Night’s Dream is playing at various locations in the St. Louis area until August 27, 2022

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