Posts Tagged ‘st louis shakespeare’

St. Louis Shakespeare Bids Farewell on an Upbeat Note with “Twelfth Night”

Posted in St Louis Theatre, tagged , , , , , on October 8, 2025| Leave a Comment »

Twelfth Night
by William Shakespeare
Directed by C. E. Gallagher
St. Louis Shakespeare
October 4, 2025

Twelfth Night was St. Louis Shakespeare’s first show when the company was founded in 1984, and, this past weekend, it also became their last. It’s something of a bittersweet  feeling to see this fairly solid rendition of one of the Bard’s most well-known comedies while also knowing it’s a goodbye to this longtime staple of the St. Louis theatre scene. While it does have its uneven moments, for the most part, the tone was upbeat and the cast is was energetic in a reasonably straightforward rendition of this classic play.

The classic story of mixed up romance, mistaken identity, and mischievous pranks started off a bit slow, but gained in energy as the show carried on, with the strongest moments being the broadly comic ones, especially in the scenes involving Sir Toby Belch (Wil Spaeth), who is a relative of the melancholy Lady Olivia (Danielle Long), and his band of cohorts including Sir Andrew Aguecheek (Anthony Kramer)–a foppish would-be suitor to Olivia)–Olivia’s gentlewoman Maria (Rachel Grossman), servant Fabian (Theorri London), and Feste the fool (Kelli Rao), who scheme to embarrass arrogant, priggish steward Malvolio (Anthony Pounders). These scenes were especially entertaining, with a good deal of energy and physical comedy, and with standout moments from Kramer, Grossman, and Rao especially, with the latter displaying a strong singing voice and ukulele skills. Pounders was also ideally cast as Malvolio despite occasionally struggling with volume.

The main plot, featuring the shipwrecked Viola (Kalani Cing) who disguises herself as a boy and serves the Duke Orsino (Devin Moses)–was also well-done if a bit unevenly cast, since, although Cing is excellent, I saw no real chemistry between Viola and Orsino; and Long, as Olivia, was much stronger in her more comic moments than in the more “serious” opening scenes. John Rogan was fine as Viola’s twin Sebastian, although the idea that these two could be mistaken for one another was harder to believe than usual. There was also a good turn from Imene Tabet as sailor Antonia. 

There aren’t any gimmicks or unusual settings in this production. The fairly basic platform set surrounded by pillars was painted by Sammi Reise in appropriate whimsical colors, but there’s no designer listed in the program. The costumes by Barb Dwyer and Rachel Grossman are a lot of fun and period appropriate, with one memorable additional costume for Malvolio created by Tracey Newcomb. The lighting by Zak Metalksy was adequate, as was the sound by Aiden Byrnes, for the most part, although some of the actors had issues with projection that sometimes made the show more difficult to follow. The overall setting was traditionally Elizabethan, and for the most part, that tone was well-maintained.

It’s sad to see St. Louis Shakespeare closing up shop. I’ve seen some great shows from them over the years, and this last one is a solid if not spectacular send-off. It’s an entertaining Twelfth Night overall, and I wish it had been able to run for more than one weekend.

 

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St. Louis Shakespeare’s Fast-Paced “Julius Caesar” Features Memorable Performances

Posted in St Louis Theatre, tagged , , , , , , on November 1, 2024| Leave a Comment »

Julius Caesar
by William Shakespeare
Adapted by John Wolbers, Edited by Aarya Locker
Directed by Aarya Locker
St. Louis Shakespeare
October 31, 2024

Cast of Julius Caesar
Photo by Gerry Love
St. Louis Shakespeare

Julius Caesar is a well-known historical tragedy from William Shakespeare, but the title is somewhat deceptive. Although the story certainly revolves around the titular Roman ruler, and he is the catalyst for the action, Caesar isn’t really the main character. The main focus is on his close associate Marcus Brutus and several of the other conspirators who  become suspicious of Caesar’s ambition and move to take drastic steps to curtail it. With memorable lines and speeches, as well as an ominous tone, the show works as an excellent acting showcase, and as staged in a fast-paced, somewhat streamlined adaptation by St. Louis Shakespeare, it makes a strong, memorable impression featuring an excellent local cast.

The story starts off as Caesar (Ryan Lawson-Maeske) returns triumphant to Rome from battle, and amid the shouts of praise from the throngs of people awaiting him, he’s met with an ominous warning from a Soothsayer (Aarya Locker) to “beware the Ides of March”, which is coming up very soon. As his ally Mark Anthea (Ricki Franklin) supports him, others fear Caesar’s apparent ambition and lead a conspiracy to kill him. One of the most persistent voices in this movement, Cassius (Sam Hayes) leads the effort to recruit Caesar’s close friend Brutus (Chuck Winning) to their cause, and after much rumination, Brutus agrees. I don’t think it’s a spoiler to mention that the group–including Cassius, Brutus, Casca (Kelli Rao), Decius Brutus (Creighton Markovich), Trebonius (Don McClendon), and Metellus Cimber (Tammy O’Donnell)–succeeds in its plan, but thanks to the famous oratory skills of Anthea, and the military opposition led by Anthea and Octavius Caesar (Mo Moellering), the conspirators’ success isn’t as complete as they had wished. These events are taken from history, with mystical elements including the Soothsayer’s prophecies and various portents and omens emphasized for drama.

This version of the play, adapted by John Wolbers and edited by director Aarya Locker, is fast-paced and focuses on the key events, as well as the relationships between major characters, moving into military action in the latter parts of the play, featuring dynamic fight choreography by Todd Gillenardo. The cast is strong, led by Winning in a thoughtful portrayal of the conflicted Brutus; Hayes as the persistent, belligerent Cassius; Franklin as the loyal Anthea; Lawson-Maeske in a regal turn as Caesar; and a stirring performance from Locker as the Soothsayer. It’s a strong cast all around, with many of the players commendably playing several characters and admirably minimizing any confusion. 

There are memorable dramatic moments as well, and an overall ominous tone that’s well-maintained through excellent use of lighting designed by Kristin Gunther and sound by Charlie Hartley. The costumes by Sam Hayes are bold and colorful, and Charles Winning’s set is appropriately classically styled, featuring pillars and colorful banners, and a stage setup that serves as an excellent base for the quick-moving action of the story.

This is a relatively short production, with a run time of a little over two hours, but the times goes by briskly. It’s a memorable, character-focused Julius Caesar that provides all the historical Roman atmosphere that one might expect, with an emphasis on character and ominous drama. There’s only one performance left to see, so especially for Shakespeare fans and Roman history aficionados, I highly recommend trying to catch it.

Chuck Winning, Sam Hayes
Photo by Gerry Love
St. Louis Shakespeare

St. Louis Shakespeare is presenting Julius Caesar at the Donn Lux Family Performing Arts Theatre at Lift for Life Academy until November 2, 2024

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St. Louis Shakespeare Brings Impeccably Staged “Hamlet” Down to Earth

Posted in St Louis Theatre, tagged , , , , , on April 17, 2024| Leave a Comment »

Hamlet
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
April 11, 2024

Hamlet is unquestioningly one of Shakespeare’s most well-known plays. It’s also frequently studied in high school and college (both for me). It’s also known for being particularly philosophical, with many celebrated reflections on life, death, family, theatre, and more. There have been many approaches to staging it over the years–or centuries, in fact, and I’ve seen quite a few productions in my lifetime. This latest version, from St. Louis Shakespeare, takes a direct, down-to-earth approach that brings the characters’ humanity and relatability to the forefront, while still doing justice to it’s more philosophical moments.

Famously, Hamlet is the story of the young prince of Denmark (Dustin Petrillo) who is mourning the death of his father, the former king, and resents the recent marriage of his mother Gertrude (Donna Parrone) to his father’s brother and newly crowned king, Claudius (Colin Nichols). When the Ghost of his father (Don McClendon) appears at the castle walls, Hamlet confronts the spirit and is informed that Claudius is a murderer, having killed the old king in order to get his crown, and apparently his queen as well. Hamlet’s quest for revenge affects his relationships and the lives–and sometimes deaths–of those he cares about most, including friends like bestie Horatio (Creighton Markovitch), would-be love interest Ophelia (Hannah Duncan), Ophelia’s brother Laertes (Bradley M. Dillon), father Polonius (Chuck Brinkley) and more. 

The whole kingdom is affected by the goings-on in this famous tragedy, but this production, directed by Patrick Siler, focuses most on the personal stakes of the characters, even editing the ending to reflect this focus, and portraying the characters and relationships in a direct, immediate way. The relationships are at the forefront here, and the performances are powerful and credible, led by Petrillo in a dynamic and reflective performance as one of the most melancholy of Melancholy Danes I’ve seen, with a fully believable degree of emotional investment. His moments with the also strong Duncan as a guarded but clearly conflicted Ophelia and Markovitch as devoted friend Horatio are especially effective, as is the famous “closet scene” with Parrone’s convincingly concerned Gertrude. Nichols makes for a memorable Claudius, as well, not showing the character’s clear ambitions without overplaying it, and in a similar vein, Brinkley’s portrayal of the somewhat foolish Polonius is firmly rooted in reality and not over-the-top as some versions of this character can be. The humor is there, but so is a degree of sympathy that makes the character even more convincing. McClendon is another standout in a dual role as the Ghost of Hamlet’s father and as the First Gravedigger. It’s a strong ensemble all around, with a strong supporting cast and cohesive chemistry, bringing a directness to the proceedings that strikes me as especially accessible to new audiences as well as those already familiar with the play.

This production fits well into its venue–the smallish theatre at Lift For Life Academy–with an effective minimalist set by Kaylie Carpenter and dynamic lighting by Tony Anselmo that highlights the action, mood, and characters well. The sound and musical accompaniment by David A. N. Jackson is especially well done, with Jackson even interacting with the characters onstage in key moments. The costumes by Michele Friedman Siler are contemporary and stylish, suiting the characters appropriately and adding to the modern flair of this staging.

This is an especially powerful Hamlet, and all the more memorable for its credible performances and in-the-moment, well-paced staging. The only regret I have is that it didn’t run longer. It’s a commendable effort from St. Louis Shakespeare, and a clear reminder of the greatness of this play that it can be adapted so well with such timeless relevance. 

 

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Fast-Paced, Whimsical “Midsummer” is a “Dream” for St. Louis Shakespeare

Posted in St Louis Theatre, tagged , , , , , on October 5, 2023| Leave a Comment »

A Midsummer Night’s Dream
by William Shakespeare
Directed by Christina Rios
St. Louis Shakespeare
September 29, 2023

Cast of A Midsummer Night’s Dream
Photo by Marissa Meadows
St. Louis Shakespeare

The latest production from St. Louis Shakespeare is one of the Bard’s most popular and oft-performed comedies. With a large, lively cast directed by Christina Rios, A Midsummer Night’s Dream features a few intriguing twists, brisk pacing, and enthusiastic performances. It also features a rustic, whimsical tone that emphasizes the forest locale and updated setting.

One of the great things about this play–and Shakespeare in general–is how adaptable it is to different times, contexts, and settings. This production has a more modern, updated setting, while still being about Athenian nobles and artisans, along with woodland fairies. With a vibrant multi-level set design by Morgan Brennan, wonderfully coordinated costumes by Olivia Radle, energetic choreography by Mary Mather, and superb atmospheric lighting by Erin Riley, this well-paced production maintains the organic, back-to-nature vibe with sprinkles of magical wonder, and a marvelously energetic cast and whimsical comic tone. Modern elements like smartphones are worked into the story seamlessly, and the emphasis on physical comedy and ensemble chemistry adds to the charm of this production.

The story is the familiar one, with several different plots woven together, including the wedding of Theseus and Hyppolyta; the convoluted love square involving Hermia, Lysander, Demetrius, and Helena; and the mischievous antics of the sprightly Puck, who gets involved in a dispute between the fairy King Oberon and Queen Titania. Then, there’s the troupe of artisans who are rehearsing a play for the wedding, including the boastful weaver Bottom, who becomes involved in the hijinks between the fairy royals in a hilarious manner. 

The players here are all excellent, and director Rios brings out the best in the talented cast, with energetic staging that adds to the comedy and overall whimsical tone. While having the roles of Titania and Oberon each played by two different performers can be confusing at times, all of the actors are excellent, with Jodi Stockton and Bryce A. Miller as Titania, and Chuck Brinkley and Stephanie Merritt as Oberon, all having their memorable moments. Tiélere Cheatem as the nimble, mischievous Puck is also a standout, along with Ebony Easter and Remi Mark as fellow sprites Peaseblossom and Moth. Also memorable are Mark Kelley as the determined Peter Quince, the director of the play-within-a-play, Riley Stevio as the self-doubting Snug, who plays the lion in that play, and Fox Smith as the highly self-focused, opinionated “Nic Bottom”. There’s also a particular emphasis on the “mixed-up lovers” plot, with strong performances from Rhiannon Creighton as Helena, Jordan Ray Duncan as Demetrius, Molly Stout as Hermia, and Noah Laster with an especially hilarious interpretation of Lysander. There’s a fairly large cast here, with all playing their parts well, and the cohesive ensemble helps to make the fast-paced comedy work for maximum entertainment value.

A Midsummer Night’s Dream is a classic, and frequent theatregoers may have seen several productions over the seasons. What’s excellent about this show is that it makes the most of its setting and story while also managing to make it surprisingly fresh and immediate. With a well-executed creative vision and an enthusiastic cast and creative team, St. Louis Shakespeare has made this production a thoroughly engaging dream of a theatrical experience. 

Jordan Ray Duncan, Rhiannon Creighton, Molly Stout, Noah Laster
Photo by Marissa Meadows
St. Louis Shakespeare

St. Louis Shakespeare is presenting A Midsummer Night’s Dream at the Robert G. Reim Theater until October 7, 2023

This review was orginally published at kdhx.org

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St. Louis Shakespeare Presents a Suitably Rustic, Likable “As You Like It”

Posted in St Louis Theatre, tagged , , , , , on October 2, 2022| Leave a Comment »

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

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

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

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

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

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

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

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

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

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St. Louis Shakespeare’s Streamlined “Romeo and Juliet” is Approachable, Well-Cast

Posted in St Louis Theatre, tagged , , , , , on February 15, 2022| 1 Comment »

Romeo and Juliet
by William Shakespeare
Directed by Blake Anthony Edwards
St. Louis Shakespeare
February 11, 2022

Evie Bennett
Photo: St. Louis Shakespeare

Romeo and Juliet is one of those shows that most Americans seem to know from having studied it in school. There have also been several filmed versions over the years, as well as the multitude of staged productions over the past few centuries. It seems to be seen as “entry level Shakespeare” for a lot of people. In that vein, St. Louis Shakespeare’s latest production strikes me as an ideal first Shakespearean show for novices, in that it fully conveys the weight and message of the piece while also presenting it in an especially accessible and approachable manner, featuring a streamlined script, fast-paced direction, and a strong and relatively age-appropriate cast, albeit with a few notable casting “twists”. 

Staged at Kirkwood’s Reim Auditorium, the relatively large stage makes an effective backdrop for the production, which is played out on Cris Edwards’s simple but efficient wooden unit set. The costumes, by Amanda Handle and Tracy Newcomb, are mostly modern, with Romeo (Erik Peterson) dressed in simple jeans and button-down shirt over a t-shirt, and others in similarly contemporary clothes, but others, such as Tybalt (Jade Collins), and Benvolio (Emma McDonough) are dressed in outfits with a mix of modern and Elizabethan flair, and Friar Laurence (Nick Freed) is garbed as an old-fashioned robed priest. The simple set and simply styled costumes lend to the overall straightforward air of the production, and the cast has been simplified as well, with a few twists, as both Tybalt and Benvolio are played as women, and Romeo’s parents have been blended into one, Lady Montague (Rhianna Anesa). Some minor characters have ben left out, as well, with the important ones remaining–led, of course by Romeo and his star-crossed love Juliet (Evie Bennett). The story, of forbidden love among feuding families, is made immediate and fresh here, and the plot concise and briskly paced while allowing for the poignant moments to resonate. There’s lot of action–and some impressive fight choreography by Dennis Saldana–as well occasional humor, and eventually the building sense of tragic leading up to the play’s well-known conclusion.

The cast is impressive, for the most part, led by the suitably youthful Peterson and Bennett as the rash young lovers, with Peterson alternately earnestly determined and Bennett the more sheltered but occasionally playful and brash Juliet. Also standing out is Quinn Spivey in a dynamic turn as Romeo’s ill-fated friend, Mercutio, who commands the stage even though there are a few moments that might be a little too intense. McDonough as Benvolio, Freed as the Friar, and Collins as Tybalt are also excellent, as is Matthew Kauzlarich in a small but memorable role as Capulet servant Peter. Hillary Gokenbach and Robert Stevenson are believable as Juliet’s parents, with Gokenbach conveying some sympathy and Stevenson showing some frightening moments of anger as he orders the reluctant Juliet to marry kinsman Paris (Nic Tayborn). There’s also an especially memorable, alternately witty and poignant turn from Donna M. Parrone as the Nurse, Juliet’s caretaker and confidante. The cast works together well, from the romantic moments between Peterson and Bennett, to the clear friendship bonds between Peterson, Spivey, and McDonough, to the obvious affection between Bennett and Parrone as Juliet and the Nurse.  The ensemble energy adds much to the believability and power of this much-told story.

Aside from a few minor sound issues, the technical production flows well, supporting the cast in this simple but effective staging of a time-honored Shakespearean classic. It’s not the most elaborate or “theme-heavy” of productions, but those attributes work in this production’s favor. If you’ve never seen Romeo and Juliet before, or if you’ve seen it many times, this production brings the story to the stage in an immediate and memorable way.

St. Louis Shakespeare is presenting Romeo and Juliet at the Reim Auditorium in Kirkwood until February 20, 2022

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St. Louis Shakespeare Presents a “Merchant of Venice” Boldly Staged, Impressively Cast

Posted in St Louis Theatre, tagged , , , , on November 15, 2019| Leave a Comment »

The Merchant of Venice
by William Shakespeare
Directed by Phil Gill
St. Louis Shakespeare
November 8, 2019

Addison Brown, Julie George-Carlson, Riley Capp
Photo: St. Louis Shakespeare

For St. Louis Shakespeare’s latest production, director Phil Gill has made a bold move. The Merchant of Venice is known as one of the Bard’s more problematic plays, especially when viewed by modern audiences. Other companies have found various ways of approaching this material to mitigate or somehow try to “fix” some of the problems, but this production seems to go the other way, presenting a fairly straightforward staging–aside from one notable twist–that highlights the difficulties, forcing the audience to confront them and think about what they mean, both for the Shakespearean setting and for today.

The one twist here is that the character of Jewish moneylender Shylock, who is usually played by a man, is played here by a woman (Julie George-Carlson), and as a woman, with all the pronouns and other references previously referring to the character as male changed to reflect the casting. Otherwise, though, nothing else has significantly changed. It’s a difficult story, ostensibly a comedy, in which characters who are supposed to be likable do some especially unsavory things, especially in reference to Shylock and the attitude toward Jewish people in general. When this was written in Shakespeare’s day, the message regarding Shylock may have been considered moderate for its day, but now it’s most certainly not, and the audience is forced to face the reality of how society mistreats and marginalizes those who don’t fit in. So, while the Shylock character does make a demand that seems unreasonable, the staging and portrayal here emphasizes what her reasoning may have been for that. The rest of the story, in which Antonio (Addison Brown) borrows the money from Shylock to help his friend Bassanio (Riley Capp) woo the wealthy Portia (Liv Somner), and some other plot points involving Bassanio’s associates Gratiano (Jeremy Goldmeier), Portia’s lady in waiting Nerissa (Erin Struckhof), as well as Bassanio’s other friend Lorenzo (Joseph Garner) and Shylock’s daughter Jessica (Erin McRaven) are more in the vein of romantic comedy, but these get tied into the Antonio and Shylock dispute eventually, as Portia and Nerissa disguise themselves as men to participate in the trial, and the Duke of Venice (Jeff Lovell) presides. There’s also some funny business involving a provision by Portia’s father for how she is to find a husband, involving choosing between three caskets and featuring some hilariously bombastic would-be suitors, the princes of Morocco (Victor Mendez) and Arragon (Duncan Phillips). It’s a compelling story, if more than a little uncomfortable to watch at times, as we see otherwise “noble” characters behaving not-so-nobly in several notable moments, and particularly at the trial, and then after some fairly brutal moments we are expected to switch back to more light romance scenes. It’s jarring, and in this staging remarkably effective.

The casting is, for the most part, excellent. Leading the way is George-Carlson in an especially memorable turn as Shylock. Her Shylock is stubborn, to be sure, but there is also a real sense of pain and anger here, which is credible considering how everyone else treats her. She is the clear standout here, although there are strong performances all around. Brown is something of a laid-back Antonio, but Capp is a lively Bassanio, displaying strong chemistry with Somner’s equally strong Portia. Goldmeier is also memorable as a particularly boisterous Gratiano, who is well-matched by Struckhof’s amiable Nerissa. Mendez and Phillips are also notable in strong comic performances as the would-be suitors, and also with Phillips in an additional role as Shylock’s dissatisfied servant Launcelot. It’s a good ensemble all around, keeping up the pacing and tone well.

The physical staging is limited somewhat by the venue. The stage at Tower Grove Baptist Church isn’t ideal, with a difficult seating set-up and not much in the way of a backstage. Still, the simple set by Kyra Bishop Sanford is in keeping with the traditional setting, even though the frequent scene changes can get monotonous. The costumes by Michele Friedman Siler are excellent, however, with rich period detail and well-suited for the characters. The lighting by Tony Anselmo, sound by Kaitlynn Ferris, and props by Trish Baylard also work well for the production, making for a coherent, engaging presentation.

The Merchant of Venice is, for various reasons, not my favorite of Shakespeare’s plays. It has its moments, but it’s especially problematic in its overall theme. St. Louis Shakespeare is to be commended for facing the problems straight on with this relatively simple, bold staging. It’s a picture of a society that’s not particularly pretty, which forces viewers to reflect not only on the reality of this situation, but on the aspects of our own society that need to be confronted. Even with a few rough edges staging-wise, it’s a truly memorable production.

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Clowns Take Center Stage in St. Louis Shakespeare’s Hilarious “39 Steps”

Posted in St Louis Theatre, tagged , , , , , , , , , on September 5, 2019| Leave a Comment »

The 39 Steps
Adapted by Patrick Barlow
From the Novel by John Buchan, From the Movie by Alfred Hitchcock
Licensed by ITV Global Entertainment Limited
And an Original Concept by Simon Corbie and Nobby Dimon
Directed by Dustin Massie
St. Louis Shakespeare
August 31, 2019

In addition to performing the works of their legendary namesake playwright, St. Louis Shakespeare has also established an excellent track record for comedy, even when it’s not from the Bard. The company’s latest production is a popular one. The 39 Steps, with its basis especially on the Alfred Hitchcock film version of the story, has been performed memorably in St. Louis before, and it is likely to be seen here again in various amateur and professional settings. Still, perhaps the thing that makes this show so appealing is its fairly simple premise and casting requirements. If you have four gifted comedic actors, regardless of budget and set complexity, you can do this show. And STL Shakespeare certainly has those four gifted performers, as well as a fun approach and excellent pacing and setting.

In his note in the program, director Dustin S. Massie makes much of the European tradition of Clowns, which becomes the inspiration for this production. The sense of “clowning” is there from the very start of the show, when all four cast members (Phil Leveling, Kelly Schnider, Rebecca Loughridge, and Brian Kappler) appear onstage, wandering amid the prop-strewn set and playing around with the various props while a lively soundtrack plays. Eventually, the four come together to tell a story, that of The 39 Steps, and each cast member takes a role–or more appropriately, roles. In fact, the only actor who plays only one role is Leveling, who plays Richard Hannay, a resident of 1930s London who reluctantly becomes the center of a murder mystery, a spy plot, and a nationwide manhunt. Schnider appears as two prominent women in the story–the mysterious Anabella Schmidt, who plays an ominous and important role in the beginning of the story; and later Pamela Edwards, who finds herself forced to work with Hannay when she–like almost everyone else in the story–suspects him of foul play. All the other characters in the story–and there are many–are played by Loughridge and Kappler. It’s a sweeping story, leading from Hannay’s small flat in London to the Scottish countryside and elsewhere, and involving much pre-World War II international intrigue as well as a great deal of hilarity along the way, both in the situations and in the portrayals by this excellent cast of “clowns”.

The actors are clearly having a great time here, making the most of their roles as clowns and as the characters they portray. The comic timing is excellent as well. Leveling makes an ideal suave, witty, perpetually clueless Hannay, well-matched by the adept Schnider as two distinct and important women, and especially in her second and larger role as Pamela. The chemistry between these two fuels their story, and it works well. Loughbridge and Kappler are also full of enthusiasm and energy in their various roles, ranging from a music hall performance due to random spies to a married couple of Scottish innkeepers, to much, much more. The physical comedy is a highlight here as well, with all four performers. It’s their interaction and impeccable timing that make this show as hilarious and riveting as it is, but the setting certainly helps, as well. A result of the terrific work of set and lighting designer Devin Lowe, costume designer Kayla Lindsey, sound designer Michelle Paladin, and props designers Massie and Paladin, the stage at Tower Grove Baptist Church as been transformed into a space reminiscent of an attic of old treasures, strewn with the materials that make the story, along with an appropriately tone-setting soundtrack.

The 39 Steps works well as an affectionate send-up of Hitchcock and the classic spy genre as well as of English music hall style entertainment, in addition to being a prime showcase for a strong cast of gifted comic actors. The “clowns” are out in force in this production, and the result is delightful. It’s another excellent comedy from St. Louis Shakespeare.

St. Louis Shakespeare is presenting The 39 Steps at Tower Grove Baptist Church until September 7, 2019

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An Intense “Othello” From St. Louis Shakespeare

Posted in St Louis Theatre, tagged , , , , , on April 12, 2019| Leave a Comment »

Othello
by William Shakespeare
Directed by Patrice Foster
St. Louis Shakespeare
April 6, 2019

Reginald Pierre, Bridgette Bassa
Photo: St. Louis Shakespeare

St. Louis Shakespeare has moved to a new venue, and they’re bringing a fresh approach to a classic tragedy along with the change of location. This Othello is updated in setting and costumes, but also given an intense, personal approach that lends a sense of timeliness to the story. There are a few surprises here, and an especially strong cast to bring even more resonance to this oft-staged play.

Othello is the name of the play, as well as its lead character, played here by Reginald Pierre. He’s a Moorish general who has recently married Desdemona (Bridgette Bassa), the daughter of the influential Brabantio (Brad Kinzel). Othello has also upset his ensign Iago (Cynthia Pohlson) by promoting Cassio (Phil Leveling) as his lieutenant instead of Iago. The vengeful, self-absorbed Iago then sets out to ruin Othello’s life, enlisting the help of the disappointed Roderigo (Jesse  Muñoz), who had hoped to pursue Desdemona himself. That’s essentially the setup, and the plot grows from there, as Iago plays on Othello’s trust for him and doubts about Desdemona’s loyalty, as well as using and manipulating everyone around him in his single-minded quest to destroy Othello, and Cassio as well.

This production, brought into a contemporary setting, highlights personal relationships as well as the insidious influences of both racism and sexism. The show emphasizes injustices–the mistreatment and mistrust of Othello first, and of the women consistently–even by the supposedly “good” Cassio. Iago is there trying to use everything to his advantage, as well. He is a monster, but he gets away with his monstrosity for a long time because he’s “one of the guys”, and the women are, for the most part, treated as convenient accessories, and sometimes as nuisances. It’s an intense, dynamically staged production that highlights the relationships of the characters and makes the most of the company’s new performance space at Tower Grove Church.

The casting here is especially notable in the choice to cast Pohlson as Iago, playing the role as a man, and as a swaggering, entitled, fiercely scheming one at that. It’s a dynamic performance, and a stunning one. Pohlson commands the stage with every step and plot from beginning to end. Pierre is also excellent as the highly conflicted Othello. and Phil Leveling makes a strong Cassio, still complex in his own right. Bassa, as Desdemona and Hillary Gokenbach as Iago’s mistreated wife Emilia are also outstanding, and there are fine turns from Muñoz as the manipulated Rodrigo and Lisa Hinrichs as Cassio’s sometime-lover Bianca as well. The cast chemistry is especially strong. The “bedroom” scene at the end is positively chilling, with top-notch performances all around, and the tragic conclusion carries credible emotional weight.

In terms of staging, the set by Jared Korte is simple, consisting of boxes that are moved around as needed. Brendan Schmidt’s lighting is effective as well, highlighting the increasingly ominous tone of the story. There are also well-suited contemporary costumes that work especially well, particularly the striking military uniforms. There’s also good work from props designer Amanda Handle, sound designer Ted Drury, and fight choreographer Tod Gillenardo. The new venue has its drawbacks (pew seating in particular), but for the most part, it works well for this production.

This is an Othello for today–intense, confrontational, timely. The staging by director Patrice Foster is intelligent and poignant, with a sense of energy and immediacy from beginning to end. It’s worth checking out on its final weekend.

St. Louis Shakespeare is presenting Othello at Tower Grove Baptist Church until April 13, 2019

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St. Louis Shakespeare Presents a Bold, Atmospheric “Tempest”

Posted in St Louis Theatre, tagged , , , , , on October 21, 2018| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
October 13, 2018

Donna Northcott, Ian Carlson, Erika Flowers-Roberts
Photo by Ron James
St. Louis Shakespeare

The Tempest from St. Louis Shakespeare is an audio-visual experience. It’s the well-known Shakespearean story, but with some interesting twists, especially in terms of sights, sounds, and staging. Here, director Patrick Siler makes a few casting modifications and brings the audience into this wild, weird, wondrous world, making the most of the space at the Ivory Theatre with a bold, mysterious, excellently cast production.

This production takes an approach that’s traditional and non-traditional in different ways. The costuming and setting are essentially Elizabethan style, with excellent detailed and colorful costumes by Michele Friedman Siler, and the island setting is well realized through Kyra Bishop-Sanford’s versatile unit set. The “non-traditional” is more in the casting, with many of the male characters being recast as women here, from lead character Prospera (Donna Northcott), the exiled Duchess of Milan, to her usurping, scheming sister Antonia (Teresa Doggett), to the Queen of Naples, Alonza (Laura S. Kyro), whose ship is wrecked in a storm stirred up by Prospera and scattered about the island. Alonza’s son Ferdinand (Ian Carlson) is thought to be lost, but instead he’s found by Prospera and her young daughter Miranda (Erika Flowers-Roberts), who has grown up on the island and hasn’t seen many humans besides her mother. She is fascinated with Ferdinand, and he with her, but Prospera wants to test him first before allowing them to marry. There’s also the mischievous sprite Ariel (Karl Hawkins), who helps Prospera in seeking to foil the plans of the scheming Antonia and Sebastian (Charles Winning), as well as of the vengeful, half-human outcast Caliban (Dustin S. Massie), who attaches himself to the bumbling shipwrecked Stephano (Jeff Lewis) and Trinculo (Anthony Winninger).

What is particularly memorable about this production is its sights and sounds–the dynamic lighting by Joseph Clapper and especially the sounds–mostly supplied by David N. Jackson and a variety of different instruments, from an electronic keyboard to an array of drums and percussion instruments. The cast members also employ drums and percussion on stage at certain moments, particularly the chilling “tempest” and shipwreck scene at the beginning and a celebration at the end. The staging is fast-paced, for the most part, with particular focus on Prospera, Miranda, and Ferdinand, as well as Ariel’s frequent influence and presence. Northcott makes a particularly determined, somewhat enigmatic Prospera, who is especially protective of her daughter. The chemistry between Carlson and Flowers-Roberts as the lovestruck Ferdinand and Miranda is sweet, as well, and Hawkins is a strong presence as the ethereal Ariel. There are also some strong comic moments from Winninger, Lewis, and Massie in their subplot, and memorable turns from a particularly regal Kyro as Alonza and Winning and Doggett as the self-serving Sebastian and Antonia.

This is an odd play, certainly. It’s one of Shakespeare’s strangest, and that’s saying something. There are some difficult questions regarding motives and social roles, but the focus in this production seems more on sensations and basic emotions. Here, on stage at the Ivory Theatre, St. Louis Shakespeare has brought a storm of sights, sounds, complicated relationships, and whimsical mysticism. This Tempest still has a lot to say, but even more so, a lot to see, hear, and experience. It’s an impressive technical feat.

Cast of The Tempest
Photo by Ron James
St. Louis Shakespeare

St. Louis Shakespeare is presenting The Tempest at the Ivory Theatre until October 21, 2018

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