Posts Tagged ‘st louis’

Upstream’s “Marlboro Man” is an Intriguing, Cleverly Staged Drama

Posted in St Louis Theatre, tagged , , , , , on April 20, 2024| Leave a Comment »

Don’t Wait for the Marlboro Man
by Olivier Garofalo, Translated by Philip Boehm
Directed by Philip Boehm
Upstream Theater
April 12, 2024

Isaiah Di Lorenzo, Caitlin Mickey
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s latest production is notable at first glance for its simple but memorable set, giving the audience something to think about before the play even begins. Don’t Wait for the Marlboro Man is a US premiere that presents a story that’s at once highly personal and relatable to modern society. With a convincing cast and clever staging, this is an intriguing show that provides much to ponder and discuss.

The show is presented in an unusual manner, as something of a “living script”, with Eric Conners onstage as a sort of observer, reciting many of the stage directions as the story plays out. That story involves Sarah (Caitlin Mickey), an ambitious businesswoman who is anxiously waiting in what appears to be a hospital waiting room. While her fiancé is undergoing surgery after having been critically injured in a motorcycle accident, Sarah waits for news not only of her unnamed fiancé’s health, but also of an apparently urgent business matter. She is joined in the waiting room by Pedro (Isaiah Di Lorenzo), who apparently was a witness to the accident and knows a lot about Sarah, even though she says she hasn’t met him before.  Although she is wary of him at first, they are soon engaged in conversation about everything from the accident, to Sarah’s career goals, to junk food, life priorities, and the habits and behaviors of ants. There’s a suggestion that Sarah might be involved in something dangerous and shady, and that she’s neglected her fiancé to focus on her job. There’s also some question about who Pedro is exactly, and why he is really there in the waiting room. 

The staging is inventive, with a set by Mike Loui that sets the action in something of an observation area, as the waiting room is surrounded on three sides by a walkway that Conners traverses as he recites the stage directions in a somewhat clinical manner. The lighting by Steve Carmichael is also notable here, in giving a bit of a stark air to the proceedings. There’s also excellent sound design by Michael Musgrave Perkins and Philip Boehm, and well-suited costumes by Michele Friedman Siler. The frequent talk of observing ants in a colony is strongly suggested by the staging and structure, as the audience–along with Conners–become the observers, and Mickey and Di Lorenzo are the objects of that observation. 

The story itself is mostly about its characters and larger concepts such as work/life balance, ethics in business, priorities in relationships and “the greater good”, and more. There’s a lot to think about here, and even some open-ended questions. What’s not in question, though, is the quality of the performances. Di Lorenzo is convincingly challenging and enigmatic as Pedro, and Mickey is also strong as the credibly anxious, distracted Sarah. Conners is a strong presence, as well, with his descriptions seeming somewhat intrusive at first, but becoming a more obviously essential part of the story as the play continues.

This is a challenging play, with a lot to think about. I find myself still thinking about what this story means, and especially about the characters, even a while after seeing it. It leaves a strong impression, with its clever staging and especially strong performances. It’s a fascinating new production from Upstream Theater. 

Isaiah Di Lorenzo, Caitlin Mickey, Eric Conners
Photo by ProPhotSTL.com
Upstream Theater

Upstream Theater is presenting Don’t Wait for the Marlboro Man at the Kranzberg Arts Center until April 28, 2024

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Visually Striking, Suspenseful “Mousetrap” Entertains at SDT

Posted in St Louis Theatre, tagged , , , , , , on February 7, 2024| Leave a Comment »

Agatha Christie’s The Mousetrap
by Agatha Christie
Directed by Gary F. Bell
Stray Dog Theatre
January 31, 2024

Cast of Agatha Christie’s The Mousetrap
Photo by John Lamb
Stray Dog Theatre

Agatha Christie is well-known as the queen of the “Whodunit”, and The Mousetrap is one of her most well-known works. It’s especially notable because the original production is still running in London after more than 70 years. It’s also an excellent showcase for actors, and Stray Dog Theatre has assembled an especially strong cast for their latest production, directed by Gary F. Bell and featuring some striking visuals in addition to the usual murder-mystery plot.

Taking place in the English countryside, outside of London but within a reasonably short distance, the show features a mid-20th Century setting and, as is usual for Christie, memorable characters and a good deal of intrigue. As young couple Mollie and Giles Ralston prepare to open their cavernous old house, Monkswell Manor, as a guest house, two notable events happen as they await their guests–a snowstorm and a murder. The storm helps add to the suspense as the collection of characters soon become stranded together at the house, and the news of a murder in London brings up memories of a tragic story from years before to which that crime is apparently connected. What’s more, when Detective Sergeant Trotter arrives on skis, he announces that the perpetrator is still on the loose, and there’s reason to believe that the killer has fled to Monkswell Manor, and that anyone connected to the earlier case could be in danger. Of course, the guests all have their secrets, but soon there is another murder, and the tension ramps up, as the characters race to solve the mystery before the killer can strike again.

The cast is excellent, with all playing their characters with degrees of complexity and distinctive personality. Claire Coffey and Sean Seifert display strong chemistry as Mollie and Giles, the hopeful young couple who are soon driven to suspicion of one another by the determined Sergeant Trotter, played with impressive intensity by Drew Mizell. The rest of the cast is also strong, including Jason Heil as the sensitive and excitable Christopher Wren, Julie Healey as the strict Mrs. Boyle, David Wassilak as the even-tempered Major Metcalf, Shannon Campbell as the gruff and secretive Miss Casewell, and Matt Anderson as the especially mysterious “surprise” guest Mr. Paravacini. The interplay between the characters adds much to the suspense and tension of the play, as do their wildly contrasting personalities.

The staging is well-paced and thrilling, making use of the remarkably detailed two-level set by Richard Brown and Dominic Emery and the atmospheric lighting by Tyler Duenow. There’s also excellent work from sound designer Justin Been, adding to the building tension of the story. The costumes, by Colleen Michelson, are especially memorable, as well, using a bright palette of colors and giving each character a distinctive color, reminiscent of Clue to a degree.

Agatha Christie’s The Mousetrap may be an oft-performed show, but Stray Dog Theatre has put its own stamp on it here, with a strong cast and just the right balance between thrilling mystery and moments of needed comic relief. It works well in the Tower Grove Abbey space, and the cast keeps up the energy to the last moment. For fans of old-fashioned murder mystery, this should be an especially appealing production.

Drew Mizell (center) and cast of Agatha Christie’s The Mousetrap
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Agatha Christie’s The Mousetrap at Tower Grove Abbey until February 17, 2024

This review was originally published at kdhx.org

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The Rep’s “Wonderful Life” is a Clever, Nostalgic Staging

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

It’s a Wonderful Life: A Live Radio Play
Adapted by Joe Landry
Directed by Kate Bergstrom
Repertory Theatre of St. Louis
December 12, 2023

Melissa Harlow, Michael James Reed
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

Most people know It’s a Wonderful Life as the classic Frank Capra film starring Jimmy Stewart and Donna Reed. A lot of people my age have probably seen that movie on TV dozens of times by now, as ubiquitous as it is. Now, courtesy of the Rep, audiences get to see this familiar story in a different way. Joe Landry’s adaptation It’s a Wonderful Life: A Live Radio Play isn’t new, but the way the Rep is presenting it, it’s a fresh, entertaining production set featuring some welcome local references and a strong energetic cast.

This isn’t a straightforward adaptation of the film story. It’s based in a local radio station sometime in what appears to be the late 1940s. The announcer, Freddie Fillmore (Eric Dean White) provides the introduction while the rest of the cast–including actors and technicians–assembles and star performer and World War II vet Jake Laurents (Michael James Reed) arrives a little bit late. Fillmore announces the cast of characters. Sally Applewhite (Melissa Harlow) plays Mary Bailey and others; Harry Heywood (Deanté Bryant) plays Clarence the angel, Harry Bailey; Rosa Ramos (Carmen García) plays George and Harry’s mother; Lana Sherwood (Aria Maholchic) plays Violet Bick; and Dr. Richard Ross (J. Samuel Davis) plays Joseph the angel supervisor and the villainous Henry Potter. These performers play a variety of roles in addition to their main ones, as well, except for Laurents, who plays George Bailey. Fillmore himself also plays a few roles, including Uncle Billy Bailey, and the stage manager (Jailyn Genyse) and sound engineers (Daisy Held, TJ Staten, Jr.) also contribute to the voice cast at times. Also, as was the case with actual “Old Time Radio” broadcasts, the cast and crew provide the live sound effects as necessary using a variety of devices. 

The story plays out as expected, with Clarence observing George’s life up until a point of crisis, in which the angel is enlisted to help George see the importance of his life and the effect he has had on his family, his neighbors, the town of Bedford Falls, and even the world outside the town. What’s different about this production, though, is that we’re not seeing a straightforward telling of the story–we’re seeing the radio actors performing the story in a meticulously re-created 1940s studio in St. Louis. So we get to see the different actors transition between different roles, doing the sound effects, and singing at various moments, including in some truly entertaining mid-Century styled commercials for real local businesses, like Schnucks and Crown Candy Kitchen. The original film of It’s a Wonderful Life already has a degree of nostalgia about it considering it’s almost 80 years old, but all the old-time radio trappings add another layer to that nostalgia. Also, while the radio studio setting is always there, there are many moments when the drama of the story being told takes over, effectively transporting the audience to the fictional town of Bedford Falls and into the midst of George Bailey’s plight.

The performances are excellent across the board. Reed makes an ideal George Bailey, bringing a lot of depth to the character and making me (at least) even more sympathetic to his situation than Stewart’s in the movie. It’s refreshing that none of the actors here are doing impressions of the movie characters–their performances are their own, although there are a few occasional moments when Reed’s vocal delivery gives a subtle nod to Stewart. Reed’s chemistry with Harlow’s Mary is excellent, as well. Other standouts include Bryant, who is especially memorable in his role as the determinded, kind-hearted Clarence; and Davis as both the wise Joseph and the scheming Potter. White also makes a memorable, amiable host as Fillmore. It’s a strong cast all around, with much energy and enthusiasm in their roles as radio actors and as their characters in the drama. 

The fun of a show like this is getting to see the authentically re-created workings of a 1940s radio station, with An-Lin Dauber’s marvelous set and meticulously detailed costumes adding to the overall ambience, along with excellent lighting by Christina Watanabe and sound by Michael Costagliola. There’s also great atmospheric music, supervised by music director Ron McGowan. 

Overall, this is a truly delightful holiday presentation from the Rep. It’s a Wonderful Life is already a well-known story, but adding the extra layer of local nostalgia and old-time radio atmosphere adds even more appeal to the familiar drama. It’s a Wonderful Life, indeed, and a wonderful show, as well! 

Cast of It’s a Wonderful Life: A Live Radio Play
Photo by Jon Gitchoff
Repertory of St. Louis

The Repertory Theatre of St. Louis is presenting It’s a Wonderful Life: A Live Radio Play until December 23, 2023

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New Line’s Original “Appleweed” Has Its Holiday Highs and Lows

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

Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas
Book, Music, and Lyrics by Scott Miller
Original Orchestrations by John Gerdes
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
December 1, 2023

Kay Love, Terrell Thompson
Photo by Jill Ritter Lindberg
New Line Theatre

New Line is a theatre company that’s not afraid of taking risks. They’ve staged some excellent, smaller-scaled productions of musicals from the well-known to the obscure, and occasionally, like with their latest production, original works. Their latest production, written and co-directed by New Line’s artistic director Scott Miller, is a holiday show with a twist. Jesus & Johnny Appleweed’s Holly Rollin’ Family Christmas is a world premiere musical parody that’s got a lot of potential, even though it’s still a bit rough around the edges.

The show is a sort-of sequel to Miller’s earlier original musical Johnny Appleweed, which was staged by New Line in 2006. I didn’t see that show, so I can only go by what I’ve read about it. This show features some characters from that show, but in the format of kind of an extended adaptation of A Christmas Carol, featuring a seemingly typical white-bread American Family, the Goodsons, led by the stuffy, traditionalist father Harry (Terrell Thompson), who in the first act spends an evening being surprised and shocked by his family members, who all have secrets that they reveal under the influence of some pot-spiked Christmas cookies. Narrated by a group of “Stoner Carolers” (Robert Doyle, Matt Hill, Stephanie Merritt, and Lauren Tenenbaum), the show follows as Harry’s kids Chip (Tony L. Marr Jr.) and Tammy (Marlee Wenski), brother-in-law Hugh (Tawaine Noah), and wife Bess (Kay Love) take turns singing about their lives in ways that increasingly disturb Harry. And then, in the second act, Jesus (also Marr) shows up as the “Jacob Marley” figure, warning Harry–who has passed out on the couch after eating a bunch of the cookies–that he will soon be visited by three ghosts, like Ebenezer Scrooge but with more of an herbal influence. Noah, Wenski, and Love play the ghosts, with Love appearing as the titular Johnny Appleweed, and bringing a great deal of energy to a show that’s a bit overlong, even though it gets better as it goes along.

The show gets off to a slow start, and it could deal with a good bit of trimming, as the first act is all set-up and the plot doesn’t really get moving until Jesus shows up in Act Two. There are some fun songs and some compelling points being made about the clash between the idealization of  1950s America and reality, as well as the encroaching social rebellion of the 1960s. The music is hit-or-miss, with some songs that basically stop the action to tell a long story, and others that are especially clever–especially in the second Act when the weed humor ramps up, which surprised me somewhat, since I’m not usually a huge fan of stoner jokes. Still, this show is at its high point (pun intended) when it leans into the pot jokes, and especially after the energetic Love shows up as Johnny Appleweed, leading the Carolers and the cast in what is probably the show’s most catchy song “That Stick Up Your Ass”. There are also some clever re-writings of traditional Christmas carols, sung with excellent harmonies by the Carolers. 

As for the rest of the cast, Wenksi is also hilariously energetic as Tammy and as movie star Sandra Dee, whose intro song is a fun nod to Grease. Thompson struggled with his lines a bit in the first act, but gained more energy and confidence in the second. Noah, as Hugh and the first of three Christmas ghosts is also fine, and Marr–a last-minute replacement as Chip–moves well and has a good sense of presence, but struggles a bit with the vocals. Marr is also the choreographer and co-director for this production,  providing some fun moments of dancing especially in the show’s livelier moments. 

In terms of technical elements, this show looks great, filling the stage at the Grandel Theatre with a vibrant Mid-Century Modern influenced set by Rob Lippert. The costumes by Lauren Smith Bearden are also colorful and stylish, with the props by Erin Goodenough also adding much to the satirical tone of the show. There’s also excellent lighting by Matt Stuckel and a lively band led by music director/keyboardist Mallory Golden.

Jesus & Johnny Appleweed’s Holly Rollin’ Family Christmas isn’t a perfect show, but it’s new and it has a good deal of potential. The cast members seem to be enjoying themselves a great deal, and there are some memorable moments and an excellent sense of theme. If you like crass humor, and especially stoner jokes, this show should be a fun “alternative” holiday production. 

Marlee Wenski, Terrell Thompson, and Carolers
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas at the Grandel Theatre until December 16, 2023

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

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

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

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

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

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

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

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

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

Lindsay Brill, Bridgette Bassa
Photo: STLAS

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

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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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Midnight’s “Professor Sunshine” Entertains with Intriguing Story, Familiar Music

Posted in St Louis Theatre, tagged , , , , , on September 22, 2023| Leave a Comment »

Professor Sunshine’s Traveling Post-Apocalyptic Rock ‘n Roll Revival
by Joe Hanrahan
Directed by Joe Hanrahan
The Midnight Company
September 20, 2023

Joe Hanrahan, Kelly Howe
Photo by Todd Davis
The Midnight Company

 

The Midnight Company’s work at the Blue Strawberry Theatre & Lounge is continuing with another concert-with-a-story, Professor Sunshine’s Traveling Post-Apocalyptic Rock ‘n Roll Revival. Written by Midnight’s artistic director Joe Hanrahan and starring Hanrahan and Kelly Howe, the show has a bit more of a story this time, featuring two strong leading performances and Howe’s impressive vocals on a variety of classic hits. The show also benefits from a strong sense of theme. 

The setting is a world in which an unspecified cataclysmic event has happened, and our two leads, Professor Sunshine (Hanrahan) and singer Cheyenne (Howe) apparently spend their days traveling to sparsely populated towns and performing concerts. At first, Cheyenne appears weary and reluctant, complaining about the Professor’s late arrival and controlling ways, and beginning the concert set with the Animals’ “We Gotta Get Outta This Place”, which apparently the “boss” doesn’t like her to sing. Soon, the Professor shows up, and a dialogue of sorts ensues amidst the collection of classic rock hits, mostly from the 60s and 70s, but ranging into the 80’s with “Everybody Wants to Rule the World”. The relationship between these two is at turns prickly and familiar, working out into a sort of odd friendship, as they explore regrets and reflections of life on the road in a post-apocalyptic world. 

Mostly, though, the production is showcase for Howe’s versatile vocals. While for her last collaboration with Hanrahan at the Blue Strawberry, Just One Look, Howe was playing Linda Ronstadt and had to sing (wonderfully) in Ronstadt’s style for the whole show, here she has more freedom to cut loose on songs from The Animals, Patti Smith, Led Zeppelin, Roy Orbison, and more, showing off the power and control of her excellent voice. Howe’s voice is the musical highlight here, but Hanrahan gets his chance to exhibit his own “talk-singing” on “Rocky Raccoon” and “A Song For You” with admirable style and character. The interplay between Howe and Hanrahan and the script full of humorous rock ‘n roll references adds much to the entertainment value here, as does the excellent band made up of music director Curt Landes on piano, Tom Maloney on guitar and bass, and Mark Rogers on percussion and backing vocals. Liz Henning’s costumes add a great deal of flair, as well, helping to further define the characters and tone of the production. 

Overall, this is an enjoyable show that celebrates classic rock music and a supremely talented lead vocalist, with an intriguing, if somewhat vague, story to tie the show together. It all fits very well into the setting of the Blue Strawberry, as well. There’s one more performance scheduled, and it’s worth checking out, especially if you’re into classic rock.

The Midnight Company is presenting Professor Sunshine’s Traveling Post-Apocalyptic Rock ‘n Roll Revival at the Blue Strawberry Showroom & Lounge until September 23, 2023

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Hilarious Remix from SATE is Theatrical, “Palpable” Fun

Posted in St Louis Theatre, tagged , , , , , , , , , on August 23, 2023| Leave a Comment »

This Palpable Gross Play
A Kind-Of Midsummer Night’s Dream
Adapted from Shakespeare by Ellie Schwetye, with Lucy Cashion and Jimmy Bernatowicz
Directed by Lucy Cashion
SATE Ensemble Theatre
August 17, 2023

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

In considering the latest new production from SATE, the old adage “you write what you know” comes to mind, considering both the source material and the adaptation. It’s clear that this is a very “theatre-y” production, by theatre people, about theatre people, and probably best appreciated by theatre people. Still, even if you’re not an actor, director, or other theatre maker, this is a fun deconstruction that showcases its fine cast and is sure to provide much laughter and pondering. 

This show is more whimsical remixing from creatives who are known for this kind of thing, and they do it extremely well. Primary adaptor Ellie Schwetye and director Lucy Cashion (who also contributed to the adaptation) have both been involved with several productions that take established works and either re-examine them or turn them completely on their heads, and usually both. This one does both with an emphasis on the “turning on its head” element. Here, the characters and basic plot is taken from William Shakespeare’s A Midsummer Night’s Dream, but it’s not a straightforward telling of that story. Here, the story focuses mostly on Puck (Ross Rubright) and the “Mechanicals” (Kristen Strom, Andre Eslamian, Kayla Ailee Bush, Joshua Mayfield, and Anthony Kramer Moser)–the group of artisans and amateur actors who put on a play for a royal wedding. In this show, though, the play isn’t about Pyramus and Thisbe, but about the mixed-up lovers from the source play–Hermia, Lysander, Demetrius, and Helena.  Puck is involved here as “Robin Starveling”, growing more and more frustrated with the various attempts at “acting” from the group–from the overzealous and opinionated Bottom (Eslamian), to the unenthusiastic Flute (Bush), to the self-doubting newcomer Snug (Kramer Moser), to overwhelmed director Peter Quince (Strom). Puck has ideas about what to do about this problem, though, that somehow involve a sleeping drug commercial from a few years ago. Meanwhile, Puck also has his fun with an ongoing feud between fairy Queen Titania (Victoria Thomas) and King Oberon (Spencer Lawton), with the anticipated  result being switched up in clever and hilarious manner. 

My description of the show seems woefully inadequate, since I would spoil too much if I went into too much detail. Let me just say that a lot goes on here, from “actor-y” in-jokes to clever staging, and hilarious “behind-the-scenes” moments, as the play rehearsal happens on one plane on the stage, with the Titania/Oberon/Puck hijinks happening mostly in the background. The cast is marvelous, as well, led by Rubright in a self-assured performance as the charming and somewhat smug Puck. Everyone is excellent though, so it’s difficult to single anyone else out. The ensemble chemistry is brilliant, and the staging is precise and well-timed. It looks great, too, with a fantastic set by Schwetye and Cashion, delightful costumes by Liz Henning and props by Rachel Tibbetts, and strikingly atmospheric lighting design by Erik Kuhn. There’s also a memorable music score and sound design by Joe Taylor. 

This is SATE, so I was expecting clever, unique, and unusual, and that’s what This Palpable Gross Play provides, with a lot of enthusiasm and personality. It’s one of those shows that might benefit even more from repeated viewings, considering how much is going on in one place. It’s another fun, thoughtful show from this excellent local company. 

 

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting This Palpable Gross Play at The Chapel until September 2, 2023

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Communication, Consistency are Highlights in STLAS’s LaBute Festival

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

LaBute New Theater Festival 2023
Directed by Kari Ely and John Contini
St. Louis Actors’ Studio
July 14, 2023

The 2023 edition of St. Louis Actors’ Studio’s LaBute New Theater Festival is currently running at the Gaslight Theater. It’s a streamlined setup this year, with one slate of five plays showing for the whole run, which is a benefit as I see it, since it makes the festival easier to follow, and also seems to lend an increased degree of consistency to the productions. While in past years, there have been some excellent plays, the festival has usually had its ups and downs in terms of overall consistency of productions. This year, all five plays are solid, thought-provoking productions that feature strong acting and a step up in production values. They are also all two-handers, with communication issues and personality conflicts being a major theme, as well as an air of mystery in most of them.

Production values are impressive across the board, from the relatively simple staging of the first play, “Safe Space” to more elaborately staged plays with a degree of lighting effects and costuming like “The Mockingbird’s Nest”, the creative team has done impressive work. Technical director Joseph M. Novak, set designer Patrick Huber, lighting designer Kristi Gunther, props designer Jenny Smith, and costumes/hair/makeup designer Abby Pastorello have contributed much in the way of tone, atmosphere, and overall style to the productions, as have sound designers and directors Kari Ely and John Contini. As for the individual shows themselves, here are some brief thoughts:

“Safe Space”
by Neil LaBute

Jane Paradise, Reginald Pierre
Photo by Patrick Huber
St. Louis Actors’ Studio

This is the “headliner” show, by the festival’s namesake playwright, LaBute. Like several other of his entries in previous festivals, this play consists mainly of a conversation between two people about a potentially volatile subject. The setup here is a “Black Out” performance of an unnamed play, where a Black man (Reginald Pierre) is surprised to see a white woman (Jane Paradise) take the seat next to him. What then ensues is an awkward interaction in which both convey their opinions about various topics relating to this situation, such as the need (or not) for “Black Out” performances of shows or “safe spaces” in general, and both characters’ personal and family experiences of racism and oppression. The structure of this script is clever in that it first appears to be an exploration of theatre manners, and the issue of the actual situation is revealed gradually. Both performers give convincing performances, and the arguments given can be alternately intriguing, thought-provoking, and occasionally infuriating. The issues brought up might better be covered in a longer play, but this vignette provides a lot to think, and talk about. 

“The Blind Hem”
by Bryn McLaughlin

This play is probably the most straightforward relationship drama of this year’s group, but elements of mystery and communication troubles are also on clear display. In what appears to be a hotel room or small apartment, Kate (Eileen Engel) and Robert (Anthony Wininger) are engaging in what has become a regular ritual for them–getting cleaned up after a rendezvous, while reflecting about the nature and future of their relationship, as well as Robert’s past and reluctance to commit. While this general idea isn’t new, it is approached in a clever way by playwright Bryn McLaughlin, who employs the inventive device of a running water faucet to obscure sound just enough so the characters can share their true feelings without being sure if the other can hear. Also, Robert is a college English professor, and Kate is a former student of his, so there are a fair amount of literary references (especially Shakespeare) thrown in to give the story a bit of a poetic flair at times. The performances are strong, with Engel and Wininger demonstrating believable chemistry as the younger, optimistic Kate, and the middle-aged, widowed and regretful professor.

“Da Vinci’s Cockroach”
by Amy Tofte

This play is a quirky one, and it has a lot to say, as two very different people reflect on art, science, and the meaning of life after a chance encounter in an art gallery, where Finn (Laurel Button) works and Dana (Colleen Backer) has come out of a sort of clinical curiosity following the recent death of a family member. The acting is the real highlight here, with Button’s sincere, determined hopefulness serving as a contrast to Backer’s more reserved, cynical Dana. The art gallery setting is well realized through means of artwork provided by Abby Pastorello, and the staging is dynamically paced, the characters memorable, and the dialogue thought-provoking. 

“One Night in the Many Deaths of Sonny Liston”
by J. B. Heaps

Eileen Engel, Reginald Pierre
Photo by Patrick Huber
St. Louis Actors’ Studio

Here is perhaps the darkest play of the evening in terms of tone. Its an imagination of an evening toward the end of the life of former World Heavyweight Champion Sonny Liston (Reginald Pierre), who died under mysterious circumstances. The story imagines a meeting between Liston and a mysterious woman (Eileen Engel) who has been sent by a guy named Vinnie with a “gift” that appears to be drugs. Soon, the two engage in a flirtation and a discussion of Sonny’s life and career, as a harsh truth is gradually revealed. The actors here do an excellent job, working together well as the tone grows more ominous as the story plays out. The costumes and set are also especially impressive in this production. 

 

“The Mockingbird’s Nest”
by Craig Bailey

This is perhaps the weirdest play here, but it starts with a basic premise, as Robyn (Colleen Backer) is spending the day caring for her elderly mother, Daisy (Jane Paradise), who suffers from dementia and is getting increasingly unpredictable in her behavior and recounting of once-familiar stories. That’s just the beginning, though, and the story develops in an unexpected direction that I will not spoil. It’s a fascinating story, though, with stellar performances from both Backer, as the increasingly exasperated Robyn, and Paradise in an impressively versatile and physical performance as Daisy. The lighting effects are also memorable here, in a story with no dull moments. 

Colleen Backer, Jane Paradise
Photo by Patrick Huber
St. Louis Actors’ Studio

 

St. Louis Actors’ Studio is presenting the LaBute New Theater Festival at the Gaslight Theater until July 23, 2023

 

 

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