Posts Tagged ‘st louis shakespeare’

“King Charles” Gets a Bard-Style Portrayal in St. Louis Shakespeare’s Intriguing Production

Posted in St Louis Theatre, tagged , , , , , on August 25, 2018| Leave a Comment »

King Charles III
by Mike Bartlett
Directed by Donna Northcott
St. Louis Shakespeare
August 19, 2018

Cast of King Charles III
Photo by Ron James
St. Louis Shakespeare

The Bard liked to write about kings. He has quite a few plays about them, in fact, covering monarchs from ancient times to those of his more recent history. Well, if you’ve ever wondered how the Bard might dramatize the current British Royal Family, Mike Bartlett has come up with his own answer to that question in King Charles III. Imagining a future scenario in which the current Prince of Wales ascends to the throne, Bartlett has written a script–in iambic pentameter–that addresses some contemporary controversies while exploring the effects of the monarchy on the people, as well as on the monarchs themselves and their families. St. Louis Shakespeare has now brought this thought-provoking play to the Ivory Theatre, in a well-cast production that takes its time to express Bartlett’s vision.

The story, set in the future, is a fictionalization that’s even more so now, the recent Royal Wedding and other factors making the story even more of an obvious imagination. It’s an “alternate universe” story, if you will, ostensibly imagining what may happen upon the death of Queen Elizabeth II and subsquent succession of Prince Charles to the throne. The Shakespearean styling becomes apparent in the use of various conventions and character archetypes that often occur in the Bards works, such as unlikely romances, ambitious throne-seekers, confused monarchs, and ghostly visitations. Here, the play begins just after the Queen’s funeral, as the new King Charles III (Colin Nichols) exercises his new royal authority in some surprising and unorthodox ways, to the confusion and shock of those around him, including members of his own family and the sitting Prime Minister Evans (Andra Harkins) and Opposition Leader Stevens (Patience Davis). Confronted with the dilemma of whether to sign a newly passed bill concerning regulation of the press, Charles hesitates, which threatens to cause a national crisis. Meanwhile, the aimless Prince Harry (Jeremy Goldmeier) is out clubbing with friends and meets the brash, anti-monarchy commoner Jess (Britteny Henry) and begins a relationship with her that he is warned will also cause a scandal. Also on hand is the popular Prince William (Michael Bouchard), who is reluctant to challenge his father’s authority but is encouraged to do so by his equally popular wife Kate (Lexie Baker), who has ambitions of her own. Also, both Charles and William recieve visions of the ghost of the late Princess Diana (Hannah Pauluhn), who seems to be telling both of them the same thing. This is an intriguing play full of interesting ideas and speculations, covering issues of royal responsibility, public perception of the monarchy, freedom of the press, and more. It’s a clever experiment, portraying some characters, such as Charles’s wife Camilla, Duchess of Cornwall (Donna Postel) generally according to popular perception while presenting others in direct contrast to general expectations–especially Charles, William, and Kate, but also Harry as well.

This production, directed by Donna Northcott, is steadily paced and sometimes could benefit from a little more energy. Still, the story is fascinating and the casting, for the most part, is good. Nichols plays Charles in a mostly sympathetic light, but can sometimes come across as vacillating and overly meek. The Princes, Bouchard and Goldmeier, give credible performances as the Princes who have to deal with different kinds of pressure, although Goldmeier makes Harry come across as being more interested in Jess for the “novelty” of dating an opinionated commoner rather than genuinely being interested in her as a person. I’m not sure if that’s the result of the script, the direction, or the performance, though. There are also strong performances from Harkins and Davis as the determined political rivals, by Henry as the confrontational Jess, who for her part does seem genuinely interested in Harry, and especially by Dustin Allison in a memorable performance as the king’s press advisor James Reiss, and by Baker as a scheming, Lady Macbeth-esque version of the Duchess of Cambridge. It’s these two –Reiss and Kate–who ultimately seem to be the ones really running the show, and their portrayers demonstrate that well. There’s also a strong, supportive ensemble playing various roles.

Visually, the show is simply and strikingly staged, with S. H.’s Boygen’s versatile set giving the suggestion a chess board with its tiled floor and movable set pieces. Jaime Zayas’s lighting provides a sometimes stark, sometimes ethereal atmosphere as needed. Michele Friedman Siler’s richly detailed costumes are also noteworthy, lending a sufficiently regal air to the proceedings.

Overall, King Charles III is a fascinating if sometimes bizarre speculation presenting several “what-if” scenarios in terms of history and theatrical form. Although sometimes the energy is lacking, the story and characters are interesting enough to hold one’s attention. I would imagine the actual royals might have some issues with it in terms of how they are portrayed, but for the most part, this production comes across as a worthwhile exercise in theatrical imagination.

Cast of King Charles III
Photo by Ron James
St. Louis Shakespeare

St. Louis Shakespeare is presenting King Charles III at the Ivory Theatre until August 26, 2018

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A Somewhat Low-Key “Titus Andronicus” at St. Louis Shakespeare

Posted in St Louis Theatre, tagged , , , , , on September 1, 2017| Leave a Comment »

Titus Andronicus
by William Shakespeare
Directed by Tom Kopp
St. Louis Shakespeare
August 25, 2017

Chris LaBanca, Britteny Henry, Chad Little, Riley James
evPhoto by Ron James
St. Louis Shakespeare

Titus Andronicus is often thought of as something like “B-movie Shakespeare”. It’s kind of like the Bard’s equivalent of a slasher flick, full of blood and guts and drama, and because of that, it hasn’t been that highly regarded until relatively recently. It’s over-the-top in many ways, although St. Louis Shakespeare’s latest staging strikes me as about as “toned-down” as this show could get. The violence and blood are definitely there, but with this production, those elements aren’t as sensationalized as they could be. It’s still not for the squeamish, but there appears to be an attempt to find some meaning amidst all the gore.

The story, set in the time of the Roman Empire, follows victorious general Titus (Chad Little) upon returning from battle. Titus has a close-knit family, with brother Marcus (Chris LaBanca), daughter Lavinia (Britteny Henry), and sons Lucius (Erik Kuhn), Quintus (Maxwell Knocke), Martius (Brennen Eller), and Mutius (Joshua Parrack). He angers the Queen of the Goths, Tamora (Suki Peters) by sacrificing her son, and then upsets new Emperor Saturninus (Roger Erb) when Lavinia won’t marry him, as she prefers to marry his brother Bassianus (Scott Mcdonald). So, then Saturninus marries Tamora and Tamora plots revenge on Titus, aided by her sons Demetrius (Ted Drury) and Chiron (Michael Pierce), and her lover Aaron (Darrious Varner).  And then, well, things just go from bad to worse, with lots of plotting, executions, brutal assaults, dismemberments, and one element that’s somewhat reminiscent of Sweeney Todd, even though this story predates that one.

This is a tragedy, but with sensationalism inherent in the plot, and a lot of opportunities to play up that sensationalism. This production, however, mostly downplays those opportunities, although there are some strong acting moments and an especially poignant final scene. The acting is strong, for the most part, with Little as a determined and somewhat bewildered Titus, and Henry especially strong as Lavinia, who is at once the most blameless and the most mistreated character in the show. There are also good performances from LaBanca as the loyal Marcus, Kuhn as Lucius, Peters as the scheming Tamora, Varner as the equally scheming Aaron, and Drury and Pierce as Tamora’s vicious and murderous sons. It’s a large cast, and everyone does a good job with what they are given, but I find the overall direction to be a little too restrained considering the material.

The time and mood of the play are set well in the technical aspects, with Chuck Winning’s set well-detailed and suggestive of a crumbling city in disrepair, which works as a reflection of the story, and Zahra Agha’s costumes suit the characters and the play’s Roman setting well. There’s also excellent lighting by Darren Thompson, sound by Ted Drury, and props by Meg Brinkley.

Titus Andronicus is an intense play, with some downright gruesome and brutal subject matter including murder, rape, betrayal, and even cannibalism. There’s a lot of plotting and scheming, and revenge that begets more revenge. Although Shakespeare’s plays can be violent, this one is probably the most extreme in that way, although the way St. Louis Shakespeare stages it, it’s not quite as extreme as it could be. In a way, that works, making the characters seem more human than they could, but in other ways it seems like the direction doesn’t quite fit the material. Still, it’s a good production, and worth seeing if you have a strong stomach.

Suki Peters, Darrious Varner
Photo by Ron James
St. Louis Shakespeare

St. Louis Shakespeare is presenting Titus Andronicus at the Ivory Theatre until September 3, 2017.

 

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St. Louis Shakespeare Brings Lots of Laughs with “Is He Dead?”

Posted in St Louis Theatre, tagged , , , , , , on August 10, 2017| Leave a Comment »

Is He Dead?
by Mark Twain, Adapted by David Ives
Directed by Edward Coffield
St. Louis Shakespeare
August 4, 2017

Zac McMillan, Ben Ritchie
Photo: St. Louis Shakespeare

St. Louis Shakespeare has had a lot of success with David Ives’s adaptations in the past, including outstanding productions of The Liar and The Heir Apparent.  Their latest production, Ives’s treatment of  Mark Twain’s Is He Dead? is another comic triumph to add to that list. A fast-paced show with much wit, innuendo, and a hilariously convoluted plot, this show boasts an ideal cast and lots and lots of laughs.

The story features a young artist, Jean-Francois Millet (Zac McMillan), who spends a lot of time painting and trying unsuccessfully to sell his paintings. Despite having a group of supportive friends and admirers, Millet has debts to pay, as does his friend Leroux (Timothy Callaghan), whose daughter, Marie (Molly McCaskill) is in love with Millet. The lender is an evil, Snidely Whiplash-type villain, Andre (Ben Ritchie), who tries to force Marie to marry him in exchange for forgiving her father’s debts. When a potential art buyer (Joe Cella) tells Millet that his paintings would be a lot more valuable if the artist were dead, Millet’s friends–Chicago (Jack Zanger), Dutchy (John Fisher), and O’Shaughnessy (Jacob Cange) help him fake a life-threatening illness so that his reputation as an artist, and the price of his paintings, will rise. Millet then disguises himself as his own widowed sister, Daisy, which only makes the complicated plot even more complicated, as Andre and several others turn their amorous attentions to the “widow”, while Millet tries to figure out how to get out of this mess he’s created so he can be free to paint and be with Marie, and Marie’s sister Cecile (Natalie Walker), who is in love with Chicago, gets jealous of her beau’s attentions to Daisy and begins investigating the matter. There’s a lot going on here, with lots of physical comedy, mistaken identity, and lots of sneaking around as well as wit and wordplay, and the situation just keeps getting more ridiculous as the play carries on to its hilarious conclusion.

Director Edward Coffield’s pacing is quick and sharp, and the cast is more than up to the challenge of this fast-moving plot. As Millet, McMillan is suitably baffled and bewildered, and as Daisy his bewilderment grows, as does his desperation. He displays a great deal of energy and excellent comic timing, and excellent chemistry with all of his cast mates. There’s strong ensemble chemistry across the board, in fact, with all the players hamming it up and enjoying every minute of it. Cange, Fisher, and Zanger make a great team as Millet’s students and friends, and Ritchie is a delightfully oily villain as Andre. There are also some great comic turns from Nicole Angeli and Jennifer Quinn as Millet’s enthusiastic friends Madame Caron and Madame Bathilde. Callaghan as Leroux, and Walker as the suspicious Cecile also give strong performances. This is a show where timing and ensemble cohesiveness is crucial, and this production scores well on both of those counts.

The set, by Matt Stuckel, is colorful and equipped with a variety of windows and doors that figure prominently in the show’s physical comedy moments. There are also clever, whimsical costumes by JC Krajicek, including some striking wigs. The lighting by John Taylor, sound by Ted Drury, and props by Meg Brinkley also contribute to the overall madcap air of the play.

This strikes me as a particularly difficult type of show, in that so much is going on and it has to be precisely timed and perfectly choreographed, but when it’s done well, it looks effortless. St. Louis Shakespeare has commendably risen to the technical challenge of this show, and the result is a pure comic treat. It’s a “laugh-out-loud” kind of show, and an excellent way to start off this company’s new season.

St. Louis Shakespeare is presenting Is He Dead? at the Ivory Theatre until August 13, 2017.

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“The Comedy of Errors” at St. Louis Shakespeare is Fast-Paced Fun

Posted in St Louis Theatre, tagged , , , , , on April 8, 2017| Leave a Comment »

The Comedy of Errors
by William Shakespeare
Directed by Shaun Sheley
St. Louis Shakespeare
April 1, 2017

Michael Pierce, Chuck Winning, Zac McMillan, Shane Signorino
Photo by Ron James
St. Louis Shakespeare

April Fool’s Day weekend was a great time to open St. Louis Shakespeare’s latest production. The Comedy of Errors is basically like one big, elaborate, hilarious April Fool’s joke done extremely well. With sharp direction, a terrific cast, and lots of laughs, this is a treat of a production.

The Comedy of Errors is actually one of the few Shakespeare plays I had never actually read or seen, but it really doesn’t matter if an audience is familiar with the material with this production, as clearly and energetically presented as it is. It’s a fairly simple story of mistaken identity, challenging the audience to suspend disbelief but making that suspension entirely worthwhile. The story, set in Ephesus, involves a visitor from Syracuse, Egeon (Dan McGee) who is spared a death sentence for trespassing by the Duke (Erick Lindsey) and is searching for his long-lost family. Meanwhile, other visitors from Syracuse, Antipholus (Shane Signorino), and his servant Dromio (Zac McMillan) arrive and are immediately mistaken for their local doppelgangers Antipholus (Chuck Winning) and Dromio (Michael Pierce) of Ephesus. A somewhat complicated story ensues in which basically everyone is confused, as the Ephesus Antipholus’s wife, Adriana (Frankie Ferrari) and the local authorities also get involved, and Antipholus of Syracuse finds himself attracted to Adriana’s sister, Luciana (Jamie McKitrick). After a series of incidents in which the the wrong people are invited to dinner, the wrong people are locked out of the house, and people get arrested, escape, and just keep getting more and more people involved in the confusion, answers finally start to arrive, but not until after a great deal of hijinks and physical comedy. This play is the very definition of the phrase “hilarity ensues”.

The plot is not deep, but it is convoluted and complicated, and it seems quite challenging for a director and a cast to get all the timing right. Fortunately, St. Louis Shakespeare has found the right director and cast. The pacing is super fast, rarely slowing down, and everyone on stage keeps the energy going with style. The four principals are fantastic, and easy enough to tell apart but also making the confusion understandable. Pierce and McMillan, as the Dromios, carry the brunt of the physical comedy and do so with excellent comic flair. Winning and Signorino are also excellent as the determined and increasingly frustrated Antipholuses. There are also strong, funny performances from Ferrari as the surly Adriana, McKitrick as the bewildered Luciana, Patience Davis as a Courtesan who is caught up in the confusion, McGee as the unfortunate Egeon, Ben Ritchie in three roles including a Merchant and a Doctor, and Margeau Steinau as a local Abbess who gives shelter to one of the pairs, but turns out to be more than she seems. There’s a good-sized cast here, some playing more than one role, and all play their parts well and commendably maintain the breakneck comic pace of this fascinatingly ridiculous plot.

The direction is sharp and dynamically paced, staged on Scott McDonald’s colorful set that serves as a suitable backdrop for the play’s action. There are also well-matched, well-suited costumes by Annalise Webb, clear sound by Ted Drury, and excellent lighting by James Spurlock.

The Comedy of Errors is a short play, and this production is brisk, brief, and action-packed, running without an intermission. It’s a quick-witted, quick moving, laugh-fest of a story. Even though the plot itself is difficult to believe, the implausibility adds to the sheer fun of it all. This is a hilarious production from start to finish.

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Frankie Ferrari, Jamie McKitrick Photo by Ron James St. Louis Shakespeare

St. Louis Shakespeare is presenting The Comedy of Errors at the Ivory Theatre until April 9, 2017.

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A Haunting, Fast-Paced “Macbeth” at St. Louis Shakespeare

Posted in St Louis Theatre, tagged , , , , , on October 14, 2016| Leave a Comment »

Macbeth
by William Shakespeare
Directed by Suki Peters
St. Louis Shakespeare
October 8, 2016

Ben Ritchie, Michelle Hand Photo by John Lamb St. Louis Shakespear

Ben Ritchie, Michelle Hand
Photo by John Lamb
St. Louis Shakespeare

One of the many, many things I love about Shakespeare’s plays is that they are in the public domain, meaning directors and theatre companies can stage them whenever, wherever, and however they want. Sometimes this can lead to self-indulgence, but often it can lead to some truly innovative, riveting theatrical experiences. Macbeth at St. Louis Shakespeare is a prime example of how a director’s well thought-out vision can take an established classic and turn it into something intense, immediate, and  stunningly memorable.

The story is the familiar one, with some cuts to streamline it a little and add to the fast-paced feel of this production. It’s not rushed, however, and every decision makes clear sense. The tragic story of the ambitious Scottish thane Macbeth (Ben Ritchie) and his equally ambitious wife, Lady Macbeth (Michelle Hand) is lucidly told here, and one of the most remarkable parts of it is in the representation of the three witches, or “Weird Sisters” (brilliantly played by Elizabeth Knocke, Taleesha Caturah, and Katie Robinson). In this production, the witches are everywhere, reappearing throughout the production as observers and participants in the action. Having them show up in various situations in other roles, but still in their witch makeup, amplifies the haunting sense of their presence and influence on the action. As the Macbeths conspire to murder the noble King Duncan (Kim Curlee) in order to help fulfill the witches’ prophecy, everything has a sense of palpable urgency. There are other figures who stand in opposition to Macbeth as well, such as the earnest, doomed Banquo (Maxwell Knocke), the determined warrior Macduff (Maggie Wininger), and Duncan’s displaced son and heir Malcolm (Eric Lindsey). The story of the insidious corruption of a thirst for power is told with glaring, visceral intensity, and the consequences of war are made real as well. It’s Shakespeare’s story, set in a mostly traditional setting, but told in a way that speaks to today’s audiences with clarity.

The cast here is impressive. Ritchie convincingly plays the title role, portraying the character’s journey from surprise to ambition to all-consuming lust for power with alacrity. Hand, as the scheming Lady Macbeth, is also superb in her role, expertly displaying the character’s manipulation and also the profundity and horror of her haunting, self-destructing remorse. There are also memorable performances from Knocke as the first devoted and then suspicious but always noble Banquo, and Wininger–who has previously played Hamlet for this theatre company–playing the usually male role of Macduff as a woman, with clear determination and a strong range of emotions, and clear skill as a warrior in the well-choreographed (by Erik Kuhn) duel scene with Macbeth toward the end of the play. There are also excellent performances from Wendy Farmer in a dual role as the witches’ queen Hecate and as the ill-fated Lady Macduff; Chuck Brinkley as the drunken Porter and as a Doctor who attends to Lady Macbeth; Lindsey as Duncan’s rightful heir Malcolm; the and an excellent ensemble of supporting performers in various roles.

The look, sound, and overall atmosphere of this production is stunningly realized by the top-notch creative team. Chuck Winning’s wood-and-metal set is a fitting backdrop for the action here, and JC Krajicek’s costumes are inventive, mostly in a traditional style but with more modern touches here and there. There is truly spectacular use of lighting designed by Nathan Schroeder, and sound designed by Ted Drury to create the eerie, haunting atmosphere and achieve some truly chilling storm effects throughout. All the technical aspects of this production are impressive, in fact, serving director Peters’ vision of a spooky, raw, fast-moving telling of this oft-told story.

There isn’t a lot of time left to see Macbeth at St. Louis Shakespeare, but I highly recommend making a trip to the Ivory Theatre to see this one-of-a-kind production. This production makes the most of the space it’s in, and director Suki Peters’ clear, bold concept comes across extremely well. I’ve seen a lot of excellent productions from St. Louis Shakespeare, but I think this is their best one yet.

Maggie Wininger, Eric Lindsey Photo by John Lamb St. Louis Shakepeare

Maggie Wininger, Eric Lindsey
Photo by John Lamb
St. Louis Shakepeare

St. Louis Shakespeare is presenting Macbeth at the Ivory Theatre until October 16, 2016.

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A Fast-Paced, Hilarious “Heir Apparent” at St. Louis Shakespeare

Posted in St Louis Theatre, tagged , , , , , , on August 29, 2016| Leave a Comment »

The Heir Apparent
by David Ives
Adapted from the play by Jean-Francois Regnard
Directed by Donna Northcott
St. Louis Shakespeare
August 26, 2016

Cast of The Heir Apparent Photo: St. Louis Shakespeare

Cast of The Heir Apparent
Photo: St. Louis Shakespeare

“Where there’s a will, there’s a way”, but what if there isn’t a will? Will, in the inheritance sense, that is. That’s the premise for the madcap, witty, lightning-paced adaptationc The Heir Apparent, currently on stage at the Ivory Theatre as presented by St. Louis Shakespeare. With tons of energy, clever staging and a ridiculously funny story, this production is a comic treat.

The comically convoluted story is set in 18th Century Paris. A poor, lovestruck young man, Eraste (Scott McDonald) wants to marry his beloved Isabelle (Jeannita Perkins), who also wants to marry him. The problem is that Isbelle’s mother, the socially ambitious Madame Argante (Margeau Steinau) doesn’t care if her daughter’s in love. She wants Isabelle to marry for money, and Eraste doesn’t have any. He does, however, have a wealthy uncle, Geronte (Shane Signorino) who is in poor health and who hasn’t yet written his will. Since Madame Argante has told Eraste that he can only marry Isabelle if he is made sole heir in Geronte’s will, Eraste is on the verge of despair until servant Crispin (Isaiah DiLorenzo) and Geronte’s mistreated maid Lisette (Britteny Henry) offer their assistance and a series of convoluted plots ensues.  That’s the basic set-up, but there’s a whole lot going on here, with a host of plot twists, sight gags, and witty banter as the story moves along to its zany conclusion.

This is a crazy play, with so much going on that it wouldn’t be too difficult to lose track of the plot, except that director Donna Northcott has staged this production extremely well, and the cast members all seem to be having a great time. The seven member ensemble is extremely well-cast, led by DiLorenzo as the scheming Crispin and Henry as his snarky girlfriend and accomplice, Lisette. Signorino is also gleefully surly as Geronte, and Steineau is hilariously haughty Madame Argante. McDonald and Perkins make a sweetly goofy couple as Eraste and Isabelle, and Anthony Winninger steals many a scene as Geronte’s lawyer, Scruple, whose diminutive stature requries Winninger to spend the entire performance walking around on his knees. There are lots of rhymes, mile-a-minute dialogue, and physical comedy that is handled extremely well by this excellent cast.

The whimsical nature of the show is well-reflected in Chuck Winning’s colorful set and Michelle Siler’s delightfully wacky costumes. There are also some fun surprises with the set that add to the comedy. Ted Drury’s sound and James Spurlock’s lighting are also excellent, adding to the mood of the produciton.

If you want to laugh a lot, see this show. It’s silly, it’s fast-moving, and it’s full of frantic energy.  It calls to mind this company’s previous successes with last year’s Wild Oats and 2014’s The Liar.  The Heir Apparent is another comic triumph for St. Louis Shakespeare.

St. Louis Shakespeare is presenting The Heir Apparent at the Ivory Theatre until September 4, 2016.

 

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“Julius Caesar” at St. Louis Shakespeare Makes Politics Personal

Posted in St Louis Theatre, tagged , , , , , on August 13, 2016| Leave a Comment »

Julius Caesar
by William Shakespeare
Directed by Tom Kopp
St. Louis Shakespeare
August 6, 2016

Cast of Julius Caesar Photo: St. Louis Shakespeare

Cast of Julius Caesar
Photo: St. Louis Shakespeare

There’s a whole lot of plotting going on in Julius Caesar. Shakespeare’s tragic history play focuses on political machinations and personal loyalties in ancient Rome. St. Louis Shakespeare’s production fills the stage at the ornate Ivory Theatre, with a strong cast and a great deal of tension and intrigue.

Even though the play is called Julius Caesar, Shakespeare’s play focuses more on the key figures who surround the charismatic Roman leader, particularly his friend, the senator Brutus (Ben Ritchie), who is persuaded by the scheming Cassius (Maxwell Knocke) into joining the conspiracy to kill Caesar before he can become too powerful. Torn between his personal loyalty to his friend and his concern for the good of Rome, Brutus is the central player in the drama, which also involves omens, prophecies and dreams uttered by various characters from a Soothsayer (Josh Saboorizadeh) to Caesar’s wife Calpurnia (Annalise Webb). There’s also Caesar’s loyal ally Mark Antony (Brennan Eller), who is determined to see the conspirators brought to justice. It’s a play full of memorable speeches and well-drawn characters, bringing the stories of history to life by bringing a sense of immediacy to the proceedings.

The cast here is a large one, with several cast members playing more than one role. The staging is at once dynamic and intimate, with emotions and relationships given sharp definition in the memorable portrayals of the central cast members, anchored by Ritchie in an impressively measured performance as a thoughtful, reflective and conflicted Brutus. His scenes with Knocke’s angry, plotting Cassius are particularly dynamic. Eller makes a strong impression as Antony, as well, with a believable sense of loyalty, determination, and charisma, and Callahan is excellent as the regal, doomed Caesar. These standouts are also backed by a particularly strong cast portraying the conspirators and various Roman citizens, the roles being too numerous to list but all strikingly well-played, and staged with a buildings sense of suspense and ominous foreboding. The battle sequences are also memorably staged by Fight Director Erik Kuhn.

The stage at the Ivory is suitably transported to ancient Rome by means of Chuck Winning’s convincing multi-level set. The costumes by Liz Henning are suitably detailed and evocative of the time and place, as well. There’s also distinctive, haunting lighting by James Spurlock and excellent sound design by Robin Weatherall.

Julius Caesar is a play about politics and ambition, but portrayed a very personal sense. It’s an examination of motives and loyalties, and a complex character study and intense drama. The characters, drawn from history, are brought to life convincingly in St. Louis Shakespeare’s thoughtful, thought-provoking production.

St. Louis Shakespeare is presenting Julius Caesar at the Ivory Theatre until August 14, 2016.

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“Richard III” Schemes and Reigns With Brutal Intensity at St. Louis Shakespeare

Posted in St Louis Theatre, tagged , , , , , on April 14, 2016| Leave a Comment »

Richard III
by William Shakespeare
Directed by Suki Peters
St. Louis Shakespeare
April 8, 2016

Charlie Barron Photo by John Lamb St. Louis Shakespeare

Charlie Barron
Photo by John Lamb
St. Louis Shakespeare

Richard III, as told by William Shakespeare, may or may not be particularly accurate from a historical point of view. It’s clear whose side the Bard was on in the epic battle between the Houses of Lancaster and York, but what matters in drama is the how the story is told and how the characters portray that story. In St. Louis Shakespeare’s superbly cast new staging of the classic history play, raw ambition is at the forefront as Richard schemes his way to the throne.

Richard (Charlie Barron) begins the play as the Duke of Gloucester. In a series of asides to the audience that seem something like “talking head” interviews from a TV show, the unscrupulous Duke hatches and executes his plan to become King of England, starting with having his brother, George, Duke of Clarence (Maxwell Knocke) imprisoned and later killed. He wheedles his way into marriage with the (very) recently widowed Anne Neville (Jennifer Theby-Quinn) in order to secure an alliance with her family. Through the course of play Richard connives and manipulates, running afoul of the current queen, Elizabeth (Michelle Hand), the former queen, Margaret (Jeanitta Perkins), and even his own mother, the Duchess of York (Margeau Steinau). He enlists an array of henchmen and “advisors”, but his trust in them varies. Chief among these allies is the conflicted Duke of Buckingham (John Foughty), who is increasingly uneasy with Richard’s plans. Eventually ascending the throne, Richard is eventually led to war with his chief rival, the nobly depicted Henry, the Earl of Richmond (Erik Kuhn).

Regardless of historical quibbles and whose side the viewer may be on in this legendary clash, Shakespeare’s Richard is painted as a clear villain. Usually portrayed with a contorted body and a decided stoop, Richard here is portrayed by Baron as more upright in the posture department, but still as gleefully villainous. Walking with a limp is about the extent of the physical limitations of Barron’s Richard, although he brings a sharp physicality to the role, and a wily, conniving, viciously forceful manner. He holds the viewer’s attention with ease, and his scenes with Theby-Quinn’s defiantly reluctant Anne, Hand’s harried Elizabeth, Perkins’s confrontational Margaret, and Foughty’s principled, conflicted Buckingham are intensely charged. Other standouts include Chuck Winning in a dual role as King Edward IV and another of Richard’s allies, Sir Robert Brackenbury. There’s also a particularly menacing turn by Brennan Eller as hired assassin Sir James Tyrell. Erik Kuhn plays a reluctant assassin with sympathy, although his turn as the heroic Richmond is slightly less convincing. For the most part, though, this is an extremely strong cast, with too many strong performances to name.

It’s a well-staged production, with a multi-level set by Jason Townes that appropriately evokes the era. JC Krajicek’s costumes are colorful and detailed, and Steve Miller’s lighting sets the mood well. There’s also some impressive staging particularly in the battle scenes, bringing the Battle of Bosworth Field to the stage in a convincing, personal way.

St. Louis Shakespeare has brought a lot of humanity to this production. It’s easy to see Richard III, as portrayed by Shakespeare, as a monster, and while he’s clearly a villain, here he’s a decidedly three-dimensional villain. The people whose lives he manipulates, challenges and destroys are portrayed in vivid detail as well, particularly the women. It’s a fast-moving, never boring staging of this classic portrayal of of King’s ambitious, brutal ascent to the throne and his inevitable downfall. This Richard III at its most approachable, and most powerful.

Charlie Barron, cast Photo by John Lamb St. Louis Shakespeare

Charlie Barron, cast
Photo by John Lamb
St. Louis Shakespeare

St. Louis Shakespeare is presenting Richard III at the Ivory Theatre until April 17, 2016.

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St. Louis Shakespeare’s “Twelfth Night” is a Tuneful, Comic Treat

Posted in St Louis Theatre, tagged , , , , , , on October 13, 2015| Leave a Comment »


Twelfth Night
by William Shakespeare
Directed by Donna Northcott
St. Louis Shakespeare
October 3, 201512039250_10206184703591047_5710833879887949041_n

Twelfth Night is one of Shakespeare’s best known comedies. It’s also the Shakespearean comedy that I’ve seen performed most often. It’s easy to see why, since the play has a lot going for it–comedy, music, romance, and more. As with any Shakespeare play, as well, there’s room for creativity, and St. Louis Shakespeare has presented a production that makes the most of Shakespeare’s script while bringing it to life in an inventive, energetic way.

This play tells the familiar story of twins Viola (Vanessa Waggoner) and Sebastian (Erik Kuhn), who are separated in a shipwreck, each believing the other has drowned. The story focuses mostly on Viola who, disguised as a young man named Cesario, goes to work in the court of the Count Orsino (Adam Flores), who employs “Cesario” to woo Olivia (Elizabeth Knocke), a countess who ends up falling for the messenger rather than the employer. Things get more complicated by the addition of several subplots involving Olivia’s relative Sir Toby Belch (Robert Ashton) and his friend, another would-be suitor of Olivia’s, the bumbling Sir Andrew Aguecheek (Jaime Zayas). And then there’s the pompous Malvolio (Chistopher LaBanca), Olivia’s steward, who Sir Toby and his friends including Maria (Patience Davis), Fabian (Maxwell Knocke),  and court fool Feste (Britteny Henry) conspire to humiliate.  And then Sebastian finally shows up and things get even more complicated. It’s all very convoluted and hilarious in that delightful Shakespearean way.

With all the hijinks and goings-on, Twelfth Night presents a challenge to theatre companies to present all that material with just the right comic timing and romantic elements. This production succeeds admirably in staging, particularly in the physical comedy moments, and in the ideal casting. This is probably the best production I’ve ever seen with respect to casting a Viola and Sebastian who could believably be mistaken for one another, for one thing, and the whole cast is lively and full of energy.  Waggoner makes an excellent, earnest and occasionally bewildered Viola, whose disguise doesn’t protect her as much as she would have imagined. She works well with Flores, who gives a commendable, well-rounded performance that’s remarkable considering he stepped into the role at the last minute. Although he does carry the script in hand, it’s hardly noticeable and just appears that he’s always got documents to read or sign. Elizabeth Knocke is great as the slightly haughty Olivia, as well.  There are also standout performances from Ashton, Zayas, Davis, and Maxwelll Knocke in the the hilarious comic subplot, centered around LaBanca’s masterfully hilarious turn as the duped Malvolio.  The best scene in the play involves the incident in which Malvolio “finds” a forged letter supposedly from Olivia. Henry is also strong in acting and singing as the “fool” Feste, who functions as more of a singer than a jester.

Technically, this is a memorably production as well, with a fun stylistic theme of blending elements of various time periods together to create a timeless and stylish look.  The set, by Ryan Ethridge, is colorful and versatile, with its platforms, pillars, and a water feature that’s put to great use. Also particularly remarkable are Wes Jenkins’s costumes, which range in style from the colorful Scottish-inspired garb of Viola and Sebastian, to the flashy and garish suits of Sir Andrew’s, to Malvolio’s outlandish getup in one prominent scene. It’s a fast-moving production very well paced and staged by director Donna Northcott.

Unfortunately, this play is no longer running so it’s too late to catch it. It was well-worth seeing, however. Featuring some of the most impressive physical comedy that I’ve seen in any production of Twelfth Night, as well as a strong cast full of wit, charm, and energy, this was an excellent representation of one of Shakespeare’s most well-known works.

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St. Louis Shakespeare’s “Wild Oats” is a Goofy Delight

Posted in St Louis Theatre, tagged , , , , , on August 27, 2015| Leave a Comment »

Wild Oats
by James McLure
Directed by Shaun Sheley
St. Louis Shakespeare
August 22, 2015

Nicole Angeli, Erik Kuhn Photo by Kim Carlson St. Louis Shakespeare

Nicole Angeli, Erik Kuhn
Photo by Kim Carlson
St. Louis Shakespeare

There’s a lot more Shakespeare in Wild Oats than you may initially think. While not written by the Bard himself, the latest production from St. Louis Shakespeare relies a great deal on quotes from his work. An uproarious, silly Wild West comic melodrama, this is a show that doesn’t make a lot of sense, but that’s kind of the point.

There’s a lot of story here. Updated and adapted from John O’Keeffe’s 18th Century comedy, Wild Oats takes the action out West, with a large cast, larger-than-life characters and mile-a-minute laughs.  It’s a story of mistaken identity, unexpected love, long-lost relatives, and of course the cartoonish villains.  The wildly convoluted story is somewhat difficult to describe without spoiling the fun. The main characters include the blustering Colonel Thunder (John Foughty), whose son Harry (Michael Pierce) has gone back East, failed out of West Point and become an actor and somewhat of a dandy.  He’s made friends with fellow itinerant actor Jack Rover (Erik Kuhn), who has a penchant for quoting Shakespeare. When Harry and Jack go their separate ways, they both end up in the same town, along with Harry’s estranged father and feisty cousin Kate (Nicole Angeli), whom the Colonel is hoping Harry will marry. There’s also the Colonel’s trusty “Indian guide”, Crow (John Wolbers), who has red braids and speaks with an Irish accent, who seems to know more about the Colonel’s long-lost love, Amelia (Jamie Eros), than he lets on. The plot also includes the requisite bad guys, such as the scheming Ephraim (Christopher LaBanca), a would-be minister who operates his own exclusive sect, and who lusts after Jane (Ashley Bauman), daughter of the show’s other villain, the unscrupulous landlord Ike Gammon (Anthony Wininger). There are more characters here than can be easily named, but I’ll just say that things get weirder and weirder as the story goes on, with the expected implausible conclusions that go with the territory in an outrageous farce such as this.

The point of a show like this is comedy, and comedy requires timing and precision. That’s all here in this very well-staged and directed production. It’s one of those shows that throws so many jokes at the audience with the idea that they’re bound to laugh at some of them. It’s at turns silly and clever, with melodrama conventions such as the damsel in distress tied to the railroad tracks, mustache-twirling villains, and more.  There’s also the fun convention of having the stagehands hold up signs instructing the audience to cheer, boo, and more at various times throughout the show. It’s all put together with a strong sense of fun, and period flavor provided by Jason Townes’s colorful versatile set and Tayor Donham’s detailed, character-specific costumes.

The cast is energetic and amiable, and very enthusiastic.  The overall upbeat atmosphere of the show is augmented by the performances, with Kuhn and Angeli making an excellent team as the unlikely love interests, Jack and Kate. The rough-around-the-edges Kate tries and fails to act the refined lady, and Angeli portrays this dilemma with excellent comic timing, especially in a fun scene in which she and Kuhn try to rehearse a scene from The Taming of the Shrew. Kuhn makes an ideal melodramatic hero, also working well with Pierce as the hilariously dandified Harry, and Foughty, who’s a joy as the perpetually confused Colonel. Other standouts including Wininger and LaBanca at their oily best as villains Ike and Ephraim, Bauman as the spunky Jane, and Wolbers in several roles including the scheming Crow, and one half of pair of delightfully ridiculous theatrical impresarios, Kliege (Brian Rolf) and Lieko (Wolbers).  The whole ensemble seems to be having a great deal of fun in this play, and that fun is certainly infectious.

Wild Oats is a silly play in the best sense of the word. It’s supposed to be goofy, over-the-top, and full of ridiculous coincidences, to highly comedic effect. The cast and crew at St. Louis Shakespeare have put together an immensely entertaining, fast-moving show that’s sure to bring lots of laughs.

John Foughty, Erik Kuhn, Michael Pierce Photo by Kim Carlson St. Louis Shakespeare

John Foughty, Erik Kuhn, Michael Pierce
Photo by Kim Carlson
St. Louis Shakespeare

St. Louis Shakespeare presents Wild Oats at the Ivory Theatre until August 30th, 2015

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