Posts Tagged ‘st louis’

The Muny’s “Bring It On” is Sweetly Goofy, High-Energy Fun

Posted in St Louis Theatre, tagged , , , , , , , , , , , on June 20, 2025| Leave a Comment »

Bring It On: The Musical
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda, Lyrics by Amanda Green & Lin-Manuel Miranda
Directed by Denis Jones
Choreographed by Jennifer Weber
Cheer Consultant & Choreography by Ryan Martin O’Connor
The Muny
June 17 and June 19, 2025

Jonalyn Saxer (Center) and Cast
Photo by Phillip Hamer
The Muny

Bring It On: The Musical is an appropriate opening show for the Muny’s 2025 season, with it’s enthusiastic, high-energy production and highly entertaining story with a large dose of hamminess and goofball humor. It took me two tries to finally see the whole show, since the Tuesday show was rained out after the first act, but I’m glad I finally got to see it, because while the first act is fun, the second act is better. Also, the acrobatic, turbo-charged cheerleading routines take it up a notch later in the show, which is an entertaining blend of traditional Broadway and hip-hop styles, along with some superb dance routines choreographed by Jennifer Weber, who is perhaps best known for &Juliet. It also has a connection to Muny Artistic Director/Executive Producer Mike Isaacson, making it an ideal show for the Muny’s colossal stage.

The story does take a bit of time to get going, after a promising opening number featuring Campbell (Jonalyn Saxer) and her Truman High School cheerleading squad. Campbell is an earnest, cheer-obsessed rising senior who starts out wanting nothing more than to be the captain of her squad and guide them to a championship at Nationals. She has the support of fellow cheerleaders, the ditzy and bossy Skylar (Katie Riedel) and Skylar’s BFF Kylar (Regine Sophia), as well as Campbell’s goofball boyfriend Steven (Sean Harrison Jones), along with perky, somewhat worshipful newcomer Eva (Taylor Sage Evans), so everything looks promising going into the school year. Then however, there’s a twist, as Campbell is abruptly informed that school redistricting has assigned her to a new school, Jackson High School, that features a totally different social scene and doesn’t even have a cheerleading squad. Instead, they have a hip-hop dance crew led by Danielle (Kennedy Holmes) and her friends Nautica (Ayla Ciccone-Burton) and La Cienega (AJ Paramo). They’re also joined by the Bridget (Katy Garaghty), a former classmate of Campbell’s who has also been redistricted, and who finds a much more welcoming atmosphere at Jackson, having been seen as something of an outcast at Truman. 

While this show largely revolves around Campbell’s personal journey of self-discovery, it also features themes of individuality, self-expression, inclusivity, friendship, honesty, and what “winning” really means. I appreciate that it isn’t really presented as “good school’ vs. “bad school”, although the Truman squad is decidedly more stereotypically “cheerleadery” than Jackson’s. Still, there’s only one real villain here, and despite Evans’s fantastically over-the-top performance as Eva, I’m not even sure a villain was necessary. It’s a fun show that increases in energy and focus as it goes along, and especially after the transfer to Jackson. Also, I think some of the Truman characters (especially Steven) are just essentially forgotten about later in the show, but for the most part, this is fun, high-energy dance-and-cheer fest that features excellent performances all around, especially from the perky-and-earnest Saxer as Campbell, Holmes as the tough-but-fair Danielle, and the scene-stealing Garaghty as the outspoken and eminently likeable goofball Bridget. There are also good turns from Bryce Williams as laid-back DJ–and potential love-interest for Campbell–Randall; Riedel and Sophia as the perky Skylar and Kylar; and Kevin Trinio Perdido and Brandon O’Neal Bomer as Jackson guys Twig and Cameron. There’s great support all around from the strong ensemble, including the Muny’s enthusiastic Teen Ensemble.

The singing is great, with a mix of styles mostly in the pop and hip-hop range, with an expected element of “classic Broadway” along for good measure.  The ensemble is fantastic, and the dance and cheer sequences are dazzling, featuring the cheer direction of University of Kentucky cheer coach Ryan Martin O’Connor and actual Kentucky cheerleaders making up the majority of the squads. There’s also an excellent Muny Orchestra led by music director Anne Shuttlesworth.

Visually, the show is a stunner, with a bright, dynamic set by Anne Beyersdorfer, striking video design by Caite Hevner, and dazzling lighting by Jason Lyons. The costumes by Tristan Raines and wigs by Ashley Rae Callahan also contribute much to the overall look and vibe of the show. The sound by John Shivers and David Patridge is also well done, despite one slight mic issue early in the show on Thursday.

The Muny is a vibrant St. Louis tradition, and its latest season is looking especially promising with its confident introduction of Bring It On: The Musical. The characters are fun, the story is heartfelt with a deliberate air of goofiness, and while the story takes a while to really get going, it’s non-stop entertainment once it does. It’s a good start to a new season, and I’m look forward to the rest of the shows in this highly-anticipated Muny lineup. 

Taylor Sage Evans, Kennedy Holmes, Jonalyn Saxer
Photo by Phillip Hamer
The Muny

The Muny is presenting Bring It On: The Musical in Forest Park until June 22, 2025

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SATE’s “Aphra Behn Festival” Impresses with Thoughtful, Imaginative Stories

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on April 13, 2025| Leave a Comment »

Ninth Annual Aphra Behn Festival
SATE Ensemble Theatre
April 5, 2025

Image: Sate Ensemble Theatre

SATE’s annual Aphra Behn Festival ran last weekend at the Chapel, reflecting the company’s theme for its 2025 season: the “Season of Adventure”. All three plays featured here explore that theme in different ways, and they are each especially entertaining and thought-provoking in their own ways. This is an excellent lineup of plays, with first-rate casts and thoughtful direction. Here are some brief thoughts about all three entries:

“Felicity” by Dylan Molloy, Directed by Ashwini Arora 

This play is part coming-of-age story, part sci-fi, and overall a fascinating look at two young people and their relationships with each other and the world around them. The two characters are remarkably played by Lyd Foss as Will and Rose Shawver as June. The two are childhood best friends who are facing the reality of growing up in a world where their future seems bleak, but the imminent launch of the spaceship Felicity in an effort to colonize Mars gives them a moment to reflect on their place in the world, as well as how they relate to each other and their peers.

The sci-fi elements here are subtle but clear, and there are also themes of climate change, economic disparity, and strict class structure. It’s one of those “five minutes in the future” sort of stories, which adds a compelling backdrop to the main attraction, which is these two intriguing characters and their interactions, which show their close bond as well as the threats from growing up and pressures of outside expectations. The setup here, and the conversations, seem entirely natural and credible. This is a play that’s made even more powerful by the thoughtful performances and direction. It’s a thought-provoking, profoundly insightful story.

Scenes from Pierrot’s Blanket by Meredith Lyons, Directed by Christina Yancy

This delightful presentation is apparently a series of vignettes from a larger work, centering on traditional French “Sad Clown” character Pierrot, or Pierre (Joseph Garner), and a sort of love-interest character known as “Blanket” (Miranda Jagels Félix), who become involved in a series of comic escapades that are also contain degrees of romance and poignancy. There’s also a great deal of physicality involved, involving mime and physical comedy.

Garner is a delight in a highly expressive performance as the earnest Pierre, who finds himself in various situations including working in a high-pressure restaurant kitchen presided over by an imperious chef (Jan Niehoff), and as a guest performer on a late night talk show hosted by the excellent Niehoff. Jagels Félix is also excellent as the elusive, flirtatious Blanket, and Kaylyn McCoy provides strong support as an apprentice chef and the talk show announcer. This is a highly entertaining story and it made me curious about what the full show is like.

“The Inferno is for B*tches” by Aurora Behlke, Directed by Kayla Lindsay

The evening got a hard-rocking finale in this clever, creative show following a high school student, Heaven (Celeste Genevieve Gardner) trying to salvage her grade after having failed to finish an essay on Dante’s Inferno by performing a “visual essay” of sorts in the form of a punk-rock concert and skit, aided by her twin cousins Manny (Bradley Rohlf) and Mannie (Claudia Barney), who play in her band as well as playing characters in a sort of reenactment of the Inferno story  casting Heaven in the central role, as she has been apparently banished to hell for pirating the movie Detective Pikachu on her family’s computer. 

This show is a lot of fun, featuring a good representation of what the Inferno is about while also giving it a driving punk score and lots of modern youthful attitude. Gardner is full of energy and likable personality as Heaven, and Barney and Rohlf are also strong in their supporting roles and musical skills. This is a hilarious, thought-provoking, musically memorable show that leaves a strong impression and works well as a finale for the festival.

There’s also great work across the board from lighting designer Erik Kuhn, costume designer Tyler White, and  projection designers Kayla Lindsay and Ellie Schwetye, sound designers Christina Yancy and Schwetye. The technical aspects of all shows contributed to the overall look and vibe of this festival, and added much in the way of entertainment value. Overall, this was a thoroughly impressive Aphra Behn Festival, and I hope each of these shows can have a life beyond their initial performances. 

 

 

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Energetic “Rock of Ages” at STL Has Strong Cast, Silly Plot

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

Rock of Ages
by Chris D’Arienzo
Arrangements and Orchestrations by Ethan Popp
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 3, 2025

Dawn Schmid, Drew Mizell
Photo: Stray Dog Theatre

Where were you in 1987? I know some of my readers probably weren’t even born, and answers to that question will vary among those who were around. For me, I was in high school, and the subject of Stray Dog Theatre’s latest production, the jukebox musical Rock of Ages, is quite familiar to me. Still, the “affectionate parody” route that the script takes comes across as hit or miss, and the plot is aggressively silly. Still, what this show does have going for it is an excellent, enthusiastic cast, a memorable band, and a well-established sense of time and place. 

As I mentioned, I was in high school during the time this show is set, although I was more into “classic rock” (from the 60s and 70s) at the time, and the “hair metal” bands and performers that this story mostly focuses on were not among my favorites. I think that audience appreciation of this show will depend largely on what you think of the music and culture of the hard rock/heavy metal scene in the 1980s, although not all of the music in this show fits neatly into that category, and there are some hits that I think transcend the genre and have more wide appeal. The characters are also largely stereotypes, but the broadly comic tone does provide a good platform for performers to go all out, in both vocals and acting. 

The story focuses mainly on Drew (Drew Mizell), who works as bar staff for the Bourbon Room, a rock club on LA’s Sunset Strip. Drew is an aspiring musician who hopes to make it big. There’s also Sherrie (Dawn Schmid), a “small town girl” from Kansas who heads to LA to pursue an acting career, who meets Drew and becomes a waitress at the club. The two share an attraction, but of course there are obstacles–most of which seem obviously manufactured. Soon, fading rock star Stacee Jaxx (Clayton Humburg), who got his start at the Bourbon Room, is persuaded by the club’s owner Dennis (Jeffrey M. Wright) to perform his last show with his band, Arsenal, before launching a solo career. Jaxx turns out to be a Grade A jerk, to put it mildly, although Sherrie is too starstruck to notice this at first. Meanwhile, German businessman Herz (Jacob Wilkinson)–along with his meek son Franz (Luke A. Smith)–has arrived in town with a plan to redevelop the Sunset Strip, which would include the demolition of the Bourbon Room. Activist Regina Koontz (Sarah Polizzi), who was fired from her position at the mayor’s office for her opposition to the plan, leads a protest and attracts the attention of Franz. There are a few other subplots mixed in as well, all narrated by Dennis’s protege and Bourbon Room sound guy Lonny (Bradley Bliven).

As you can probably see, there are a whole lot of plots here. There are also a lot of cliches and stereotypes, and jokes that range from silly to crass, and the cast does seem to be having a lot of fun here. Mostly, the singing is great, with Mizell, Schmid, Humburg, and Jade Anaiis as Venus Gentleman’s Club proprietor Justice as standouts. Mizell and Schmid make a believable couple, and both give their all to their roles, although the role of Drew is somewhat bland as written. Schmid especially manages to inject a great deal of personality into her role, and Polizzi is also an acting standout with strong comic abilities. Bliven and Wright are also memorable as Lonny and Dennis, and Smith has some memorable moments as Franz, and the ensemble is strong as well, for the most part, especially vocally. Some of the roles are particularly underwritten or stereotypical, like Herz and especially Stacee Jaxx, who comes across as a completely one-note jerk despite Humburg’s excellent vocals and energy. There is dynamic choreography by Mike Hodges that lends pizzazz to the production numbers and memorable songs like “Here I Go Again”, “Don’t Stop Believin'”, “We’re Not Gonna Take It”, and more. 

The visuals here are especially strong, with a marvelously detailed set by Rob Lippert that evokes the look and vibe of a 1980’s hard-rock nightclub with remarkable effect. There are also colorful costumes by Collen Michelson that suit the characters well and effectively  reflect the time and subculture. The wigs by Sarah Gene Dowling are fun, as well, and Tyler Duenow’s lighting is fantastic. There’s also a great onstage band led by music director Mallory Golden. 

Ultimately, Rock of Ages at SDT manages to entertain despite the uneven script. I think it will especially appeal to people who not only remember this era firsthand, but who also love this style of music and these songs especially. It’s a goofy story, but the cast seems to be having a lot of fun. If you have fond memories of 1980s hard rock and heavy metal, I imagine you’ll enjoy this show. 

Cast of Rock of Ages
Photo: Stray Dog Theatre

Stray Dog Theater is presenting Rock of Ages at Tower Grove Abbey until April 26, 2025

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“Sherwood” is Swashbuckling, Action-Packed Fun at the Rep

Posted in St Louis Theatre, tagged , , , , , , , , on March 22, 2025| 1 Comment »

Ken Ludwig’s Sherwood: The Adventures of Robin Hood
by Ken Ludwig
Directed by Kate Bergstrom
Repertory Theatre of St. Louis
March 21, 2025

Matt Lytle, Jayne McLendon, Michael James Reed, CB Brown, Louis Reyes McWilliams
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is closing out its 2024-2025 season with a wildly entertaining bit of adventurous fun. With nods to the classic story, filmed versions, and especially Monty Python, Ken Ludwig’s Sherwood: The Adventures of Robin Hood is a hilarious, engaging adventure from start to finish. With vivid, whimsical storybook-styling and an enthusiastic, well-chosen cast, this is a show that’s a delight for all ages. 

The Robin Hood story has been told many times in various forms, and the marvelous, vividly realized set by Lindsay Mummert and Courtney O’Neill evokes a giant pop-up storybook surmounted by a massive oak tree. The cast led by Michael James Reed’s Friar Tuck, who narrates much of the story, introduces us to the story of the titular hero, Robin Hood (Louis Reyes McWilliams) in the middle of the action, as he’s about to be executed by the government of the greedy Prince John (Eric Dean White),  conducted by the vain Sir Guy of Gisbourne (Matt Lytle), but then the story flashes back to the very beginning, as Robin of Locksley is born and grows up as a member of the nobility and is soon made aware of the oppression of the Saxons by the Norman conquerors. Upon saving the lives of a miller and his daughter, Deorwynn (Fabiola Cabrera-Davila), Robin starts on a mission to right wrongs and help the poor and oppressed throughout England, rousing the ire of Prince John, Sir Guy, and Sir Guy’s henchman, the foppish Sheriff of Nottingham (David Weynand). Along the way, Robin draws a following, making friends with Friar Tuck along with Little John (CB Brown), and others, and becomes reacquainted with his childhood friend Maid Marian (Jayne McLendon), who had been sent away to France and has returned having become an expert archer and involved in a situation that makes things more complicated for both her and Robin. As the story progresses, many of the familiar Robin Hood tales are told, and adventure ensues as Robin and his merry band lead the fight for justice for the poor and wait for the return of the absent King Richard. 

The tone of this show is decidedly comic, although there are occasional moments of heartfelt drama. The style takes a fair amount of influence from Monty Python specifically, with one hilarious direct nod that I won’t spoil, but that audiences familiar with the source will recognize as soon as they see it. The characterizations are broad and not exactly caricatures, but with the villains veering more into that territory than the heroes, which provides great comic fodder for the actors. Lytle, Weynand, and White especially seem to be having a marvelous time hamming it up in villainous ways, but the heroes also have their moments to shine, led by McWilliams in a heroic turn as Robin and McLendon as the fiery, gutsy Marian who is in every way Robin’s match. Reed, Brown, and Cabrera-Davila also turn in strong, characterful performances, ably supported by Oriana Lada in a variety of roles and DeAnté Bryant as Troubadour, accompanying the cast on guitar as the story goes along.

There’s a lot of music in this show, actually, composed in a traditional folk-style by music director Colin McLaughlin and played and sung throughout the show by various cast members. There’s also dynamic fight choreography by Rachel Lee Flasher and Zachariah Payne, who also serve as intimacy choreographers. The glorious set is augmented well by means of Christina Watanabe’s excellent lighting and Amanda Werre’s proficient sound design. The costumes, by Dottie Marshall Englis, are meticulously crafted and colorful, fitting in with the overall whimsical tone of the show and working well with the aforementioned stunningly realized set. 

In no uncertain terms, Sherwood is simply a hilarious, adventurous romp through the forest, with an adventurous spirit and an enthusiastic cast that gives this production an extra dose of warmth, charm, and chaotic energy. It’s a comedic triumph for director Kate Bergstrom and the entire cast and crew. There’s even a clever use of audience participation at various points, providing even more enjoyment to this bold and simply fun adventure in Sherwood Forest. 

Matt Lytle, David Weynand
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ken Ludwig’s Sherwood: The Adventures of Robin Hood until April 13, 2025

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“Rocky Horror” is Back at New Line with Campy, Well-Cast Production

Posted in St Louis Theatre, tagged , , , , , , , on March 5, 2025| Leave a Comment »

The Rocky Horror Show
Book, Music, and Lyrics by Richard O’Brien
Directed by Scott Miller and Chris Moore
Choreographed by Chelsie Johnston
February 28, 2025

Katie Orr, Bee Mecey, Tori Shea Cole, Rafael DaCosta, Chelsie Johnston
Photo by Jill Ritter Lindberg
New Line Theatre

The Rocky Horror Show is a cult hit with a life of its own, having spawned a perhaps more well-known film and gathered a legion of fans over the last 50+ years. Especially if you’re into dark, campy, raunchy homages of old B-style sci-fi and horror, or if you’re curious to see what everyone has been talking about, this show is worth seeing at least once. At New Line, the production is apparently taking a “back to basics” approach that is focused on capturing the independent, small-theatre vibe that the original stage show had back when it first opened. For the most part, this approach works, especially with the talented cast, simple-but-effective production values and overall horror-comedy vibe, although I do think the campiness could benefit from being  turned up a notch in places. 

After an introduction that sets the tone by calling  back memories of old sci-fi/horror films, the story starts in “earnest” as we meet Brad (Rafael DaCosta) and Janet (Brittany Kohl, an overly perky, “innocent” newly engaged young couple. When their tires blow out on a trip to visit their old teacher Dr. Scott (Christopher Strawhun), they seek out a nearby castle to use their phone, and are led into a world weirder than their wildest dreams. Dr. Frank N. Furter (Todd Schaefer), a corset-and-fishnets clad self-described “Sweet Transvestite” is the proprietor of this castle, attended by cohorts Riff-Raff (Bee Mecey), Magenta (Katie Orr), and Columbia (Tori Shea Cole). Frank is working on a new project, a scantily-clad, muscular “Creature” known as Rocky Horror (Zachary Thompson), while Riff-Raff and Magenta keep dropping hints of an extraterrestrial origin and a desire to go back “home”. Meanwhile, Brad and Janet are given an unexpected “awakening” of sorts and are compelled to participate in a “floor show”. 

There isn’t much plot here, really, since this show is more about concept and camp than plot. It’s about the vibe and the aesthetic, which at times can be a little underdone here, compared to the previous version of this show I have seen (I haven’t seen the film). The cast is generally enthusiastic, with terrific performances especially by DaCosta and Kohl–who turn in strong comic performances–and Shaefer, who hams it up with a touch of menace as Frank.  There’s also strong ensemble energy by everyone else, including Chelsie Johnston as the Narrator. As is usual for New Line, there’s great singing as well, although there are moments when the sound isn’t clear, and one full song–“Eddie’s Teddy”, in which Dr. Scott tells the backstory for Frank’s earlier “project” character, the doctor’s nephew Eddie (also Strawhun)–where the harmonies sound nice, but I couldn’t understand the words, and I was sitting in the front row. The rest of the songs are fairly clear, though, and some numbers like the well-known “The Time Warp” are full of energy and excellently sung and choregraphed by Johnston. The New Line Band, led by music director Randon Lane, does a good job on the show’s catchy score, although there are a few moments when they tend to drown out the singers.

The look of the show is a bit more subdued than I have seen before, but it works, with a simple set by Rob Lippert that features a central runway and a series of microphones, almost suggesting a concert-like atmosphere. The lighting by Jack Kalan is terrific, maintaining just the right mood and vibe, and Eric Goodenough’s costumes are colorful and eye-catching, contributing a stylish air to the overall early 70s and sci-fi/horror theme of the show.

Overall, if you love Rocky Horror, you should enjoy this show. Even though there are times when it seems a bit subdued, for the most part it’s a weird, wild ride of a show. Also, while direct audience participation (like for the film) is discouraged, the audience was enthusiastic, with some attending dressed up for the occasion. This is the second show in a season of repeat productions for New Line, and it entertains with energy and campy, creepy style. 

Tori Shea Cole, Todd Schaefer, Brittany Kohl, Rafael DaCosta
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting The Rocky Horror Show at the Marcelle Theatre until March 22, 2025

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STLAS Does Justice to a Much-Studied Masterpiece with Riveting “Long Day’s Journey”

Posted in St Louis Theatre, tagged , , , , , on February 21, 2025| Leave a Comment »

Long Day’s Journey Into Night
by Eugene O’Neill
Directed by Austin Pendleton
St. Louis Actors’ Studio
February 16, 2024

Meghan Baker, William Roth, Dustin Petrillo, Joel Moses
Photo by Patrick Huber
St. Louis Actors’ Studio

Long Day’s Journey Into Night has a legendary pedigree. It’s considered the magnum opus of one of the most celebrated playwrights of the 20th Century, and it’s been performed and studied at many levels. I read it in high school but hadn’t seen a live performance until this current production from St. Louis Actors’ Studio, which–as directed by celebrated actor and director Austin Pendleton–has proven to be a riveting, ideally cast production that shows just how powerful and profound this play can be. 

Seeing this production, I can see how this play can be seen as such a challenge. The story, openly based on O’Neill’s own life and family, can easily come across as talky and slow if not directed well, but thankfully this production has an ideal director and a stellar cast. The title refers to the fact that the action takes place over one long day, at the summer home of the Tyrone family in 1912. Here, patriarch James Tyrone (William Roth), a celebrated actor who has spent a large part of his career touring in one role, has gathered with his wife, Mary (Meghan Baker) and two sons.  The elder son, the somewhat profligate Jamie (Joel Moses), is also an actor; and the younger son, Edmund (Dustin Petrillo) is an aspiring writer who is suffering from an ailment that the family fears could be consumption (now called tuberculosis). Father and sons are on eggshells around Mary, who has recently returned from a sanitarium to treat her morphine addiction, and Mary herself is in denial about Edmund’s condition, while the sons deal with living up to their parents’ expectations and James’s persistent stinginess, and both James and Mary deal with past regrets regarding James’s career decisions, the loss of a child, and Mary’s remembrances of her life and aspirations attending a convent school before she met James. There’s a lot of reflection, regret, and conflict here, as we also get to see as Edmund has become something of the “last hope” for his family, although that idea is shown more than it’s spoken.

This is a long play, and there’s not much in the way of “action”, although a lot happens in terms of the balance in the relationships and revelations regarding the characters. The pacing is crucial, considering the length of the play, and the performances here give weight to O’Neill’s reflective and intelligent script. The characters are cast well, with each performer given moments to shine, led by Baker’s heartbreakingly convincing portrayal of Mary, who displays a vivid and convincing range of emotions and works well with Roth’s more matter-of-fact James, whose emotions come out more in the play’s last act, along with hints of an Irish brogue that work well to reveal his character’s loss of control while still trying hard to maintain it. Moses and Petrillo are also convincing as the brothers, with Moses credibly portraying the cynical, hard-drinking Jamie and Petrillo embodying Edmund’s talent and ambition along with his concern for his family and personal doubts. Bridgette Bassa also turns in a fine supporting performance as the family’s Irish servant, Cathleen. The drama and emotion here comes largely from the powerful and believable interactions among the characters, with all five players contributing the building sense of urgency and tension as the play goes on.

The mood and atmosphere of the play are also well-realized by means of Patrick Huber’s evocative minimalist set and excellent lighting design, as well as Kristi Gunther’s strong sound design. Teresa Doggett’s costumes are meticulously detailed and suit the characters well, and there’s also excellent work from props designer Emma Glose.  All of these elements work together seamlessly to achieve a convincing dramatic tone and period setting.

Long Day’s Journey Into Night is a much written and talked-about masterpiece, and this production from STLAS and director Austin Pendleton make it easy to see why this play is so lauded. There are many layers of depth in the story, the characters, and the relationships, and a convincing theatrical atmosphere as well. It’s a masterpiece not only for O’Neill, but also for St. Louis Actors’ Studio.

Meghan Baker, Bridgette Bassa
Photo by Patrick Huber
St. Louis Actors’ Studio

St. Louis Actors’ Studio is presenting Long Day’s Journey Into Night at the Gaslight Theater until February 23, 2024

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“Shucked” at the Fox is Fun, But Maybe a Little Too Corny

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on February 12, 2025| Leave a Comment »

Shucked
Book by Robert Horn, Music and Lyrics by Brandy Clark and Shane McAnally
Directed by Jack O’Brien
Choreographed by Sarah O’Gleby
The Fox Theatre
February 11, 2025

Danielle Wade, Miki Abraham
Photo by Matthew Murphy and Evan Zimmerman
Shucked North American Tour

Shucked is all about corn, both in a literal and figurative sense. Yes, the story is about a county that depends upon its corn crop for its livelihood, but I also wonder if there’s ever been another musical that relies so heavily on goofy jokes for its appeal, especially as compensation for a relatively thin plot. Don’t read me wrong–this show is a whole lot fun, and it’s not really trying to be high art. It’s currently playing at the Fox, with a strong, energetic cast and lively production values, and unless you have no sense of humor at all, there are a lot of laughs here. I like it, but I can’t help but feel overdosed on sweetness at the end, kind of like I’ve had an overly large milkshake. It tastes good, but did I really need that many empty calories?

Sometimes, though, empty calories are just fun, and Shucked is certainly a lot of fun, even though I do keep wishing for a little more in terms of plot. What plot there is is padded out a lot with jokes that are funny, but don’t serve much purpose other than provoking more laughs. It’s a fairly simple premise, told by a pair of perky narrators (Maya Lagerstam, Tyler Joseph Ellis)–Cob County is an isolated community where all aspects of life revolve around its corn crop, which begins to die just as local couple Maizy (Danielle Wade) and Beau (Jake Odmark) are about to get married. Since nobody has ever left Cob County, the locals all object when Maizy suggests sending someone out into the outside world to find someone who may be able to help save the corn. Everyone, including Maizy’s kindly Grandpa (Kyle Sherman), Beau’s jokester brother Peanut (Mike Nappi),  and even her independent-minded entrepreneur cousin Lulu (Miki Abraham) are against Maizy’s idea, and Beau is actually insulted because Maizy doesn’t trust him to fix the corn on his own. Well, Maizy leaves anyway, ending up in the strange new world of Tampa, where she meets Gordy (Quinn Van Antwerp), who Maizy mistakes for a corn expert, and because Gordy is a con man and in a lot of debt, he goes back with her for self-serving reasons, turning on the charm all the way and convincing Maizy that’s he’s in love with her. When they get back, everyone seems on board with Gordy except for Lulu and the jealous Beau, although Lulu soon reluctantly finds herself attracted to Gordy as well. Since this is an upbeat comedy, it shouldn’t be a spoiler to say everything eventually gets worked out, but it’s all in the midst of a bunch of corny jokes and puns and some catchy tunes and production numbers. 

The cast is excellent, led by Wade in an enthusiastic, highly likable and well-sung turn as the optimistic Maizy and by Abraham as the tough-talking, enterprising Lulu, who gets perhaps the show’s best number, “Independently Owned”, turning in a great performance. Van Antwerp is also strong as Gordy, with the requisite charisma and charm, and Odmark does about as well as he can with the underwritten role of Beau. Nappi is fun as Peanut, displaying great comic timing, and although the character basically just exists to tell corny jokes, Nappi does this well. Lagerstam and Elli make for amiable, strong-voiced narrators as well, and the whole ensemble is perky, upbeat and all in on all the goofy jokes and humor. 

The show looks great visually, with a striking, versatile set by Scott Pask and bright, colorful costumes by Tilly Grimes. The lighting by Japhy Weideman and especially the clear sound by John Shivers contribute much to the overall atmosphere and energy of the proceedings. There’s also energetic dancing cleverly choreographed by Sarah O’Gleby, and a small but lively orchestra led by music director Nick Williams.

Overall, Shucked is lots of corny, upbeat fun, with a dash of raunchiness thrown into the mass of jokes from time to time. Even though there are a lot of issues someone could have with the plot if they really thought about it, this isn’t really that kind of show. It’s here to entertain, and it does that. I guess sometimes you really just want that oversized milk shake, even if it may be sweetened with a little too much corn syrup. 

Cast of Shucked
Photo by Matthew Murphy and Evan Zimmerman
Shucked North American Tour

The North American Tour of Shucked is running at the Fox Theatre until February 23, 2025

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Sandwiches Become a Life Lesson in the Rep’s Funny, Insightful “Clyde’s”

Posted in Theatre on TV, tagged , , , , , on February 11, 2025| Leave a Comment »

Clyde’s
By Lynn Nottage
Directed by Josiah Davis
Repertory Theatre of St. Louis
February 7, 2025

Brendan Hickey, Essence Anisa Tyler, Alfredo Antillon, Ron Himes
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

 

Clyde’s, currently onstage at the Repertory Theatre of St. Louis, is one of those shows that may make you hungry, with all its focus on the craft of sandwich making, including artfully staged sequences that remind me of the pie-making scenes in the musical Waitress. This show by celebrated playwright Lynn Nottage is about more than just food, though, as its characters struggle to make sense of life after prison and deal with a hard driving boss who has some lessons of her own to learn from them. This vivid, often humorous and occasionally poignant story is brought to life by a great cast and the first-rate production values for which the Rep is known.

The sandwich artist in residence at Clyde’s truck stop is Montrellous (Ron Himes), who has become something of a Chef-guru to the younger line cooks he works with. He also tries his best to introduce the crusty owner Clyde (Phyllis Yvonne Stickney) to his sandwich-inspired enlightenments, but she consistently refuses to partake, in the sandwiches as well as the wisdom they influence. The rest of the staff–all formerly incarcerated and trying to make a new life–hang on Montrellous’s words while they get on with their jobs and try to keep up with Clyde’s demands and avoid her wrath. Single mother Letitia–or “Tish–is trying to manage her work schedule while taking care of her young daughter, and Rafael (Alfredo Antillon) tries to be her friend and possibly more. Meanwhile, Jason (Brendan D. Hickey) is a newcomer to the kitchen, just having been released and facing the suspicions and assumptions of his co-workers. Slowly but surely, we hear more of their stories as the group bonds over shared experiences, a common adversary, and of course, sandwiches. Meanwhile, Montrellous maintains his smooth demeanor while doling out life lessons and encouraging his pupils to look beyond the walls of the kitchen to see what goals they can attain in life, all the while continually trying to convince the cynical Clyde that there really is something to learn from the art of sandwich making.

The pace of this show is quick and deliberate, well-measured by director Josiah Davis and carried out by an impressive cast led by local legend Himes, who is superb as the guru-like Montrellous, with a strong presence and magnetic personality, adding credibility to his influence on the character’s younger co-workers. There’s also excellent work from Tyler as the determined Tish, Antillon as the amiable, ambitious Rafael, and Hickey as the initially guarded Jason. Stickney is also superb as the cranky, demanding, and insistently cynical Clyde, who persistently resists the appeal of the sandwiches and the promise of “more to this life” that they represent. The overall rapport that develops among the cast is credible as well, and there’s a believable balance between the humor and moments of drama. The production team has also consulted with representatives from Prison Performing Arts–LaWanda Jackson and Eric Satterfield–to add to the overall credibility of the presentation.

Technically, this production is as impressive as has come to be expected at the Rep, with a thoroughly realistic set by Jean Kim that ably evokes the environment of a busy truck stop kitchen. There’s also especially impressive work from lighting designer Christina Watanabe and sound designer Michael Costagliola in achieving a convincing balance between realism and the more fantastical sandwich-making sequences. There are also excellent costumes by Hayden Zelideth that suit the characters well and add to the overall vibe of the show.

Clyde’s runs at about 100 minutes with no intermission, and there are no dull moments. It’s a piece that manages to entertain and enlighten while presenting a realistic environment with a moments of poignancy and stylized, artistic whimsy. There’s a lot to learn from sandwiches, apparently, and this show teaches its lessons well.

Phyllis Yvonne Stickney, Essence Anisa Tyler, Brendan Hickey, Alfredo Antillon, Ron Himes
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Clyde’s until March 2, 2025

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PPA Alumni Reflect, Ponder, and Educate in Engaging “As Told by Us”

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

As Told By Us
PPA Alumni Theatre Company
November 17, 2024

PPA Alumni Theatre Company recently came to Greenfinch Theater & Dive to tell their stories in the form of two intriguing and engaging one-act plays reflecting personal relationships and experiences. It was an entertaining and sometimes educational mix of comedy and drama, featuring some memorable performances.  Here are some brief thoughts:

“Go Before I Do”
by Hazel McIntire
Directed by Eric Satterfield

Katie Leemon
Photo by RayBay Creates
PPA Alumni Theatre Company

In this story, Katie Leemon as the bartender gives the audience thoughts about life and drink recipes before a Daughter (Jocelyn Padilla) and Father (David Nonemaker) enter the bar and engage in occasionally tense conversation about their views of life, relationships, city vs. small town living, and more. It’s an intriguing relationship, with the idea being that the daughter doesn’t necessarily realize what she can learn from her father until it may be too late, although the story is a bit talky.

All three players turn in engaging performances with Leemon’s Bartender being the obvious standout. The staging is simple, with a fairly basic set featuring the bar and a table and chairs that serve the story well, and good work from lighting and set designer Bess Moynihan in establishing and maintaining the mood of the production.

 

“Don’t Be a Hero, Thank You”
by Katie Leemon
Directed by Rachel Tibbetts

LaWanda Jackson
Photo by RayBay Creates
PPA Alumni Theatre Company

This play was the highlight of the production for me, dealing with the complex topic of re-entry into the outside world after release from prison with humor and occasional poignancy, and featuring a thoroughly winning performance by LaWanda Jackson as Kate, who is adjusting to her new life and reflecting on her time while incarcerated. There’s also fun use of projections by Eric Satterfield to illustrate Kate’s points that cover topics of maintaining friendships, dating, getting used to life on the “outside” and more. There’s fun recurring segment about “How to Make a Prison Christmas Tree” that runs throughout the play, as well. 

Jackson is excellent, plain and simple, with the right blend of comic timing and credibility in the more serious moments. There’s also a strong turn from Kristen Strom in a variety or roles, including one of Kate’s best friends from prison, Sara, who is struggling with her own unique issues after getting out. This is an engaging and educational show with a strong sense of pacing and excellent use of the set and props. It’s an enlightening look at the experience of incarceration for those who haven’t experienced it, and I imagine it would be especially relatable for those who have. 

Overall, As Told By Us was an engaging, memorable theatrical experience featuring memorable themes and performances, and working especially well at the Greenfinch venue. It offers insights into aspects of the human experience that not everyone may have lived, but that are important to know for purposes of empathy and understanding. 

 

 

 

 

 

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TWFSTL Examines “Life Upon the Wicked Stage” With Cleverly Linked One-Acts and Music

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

Life Upon the Wicked Stage
A Trio of One-Acts by Tennessee Williams
Directed by Brian Hohlfeld
Tennessee Williams Festival St. Louis
August 10, 2024

Julia Crump, Julie Layton, Donna Weinsting, Dominic Di Cicco, Gary Wayne Barker
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

Life Upon the Wicked Stage is the title for Tennessee Williams Festival St. Louis’s showcase of three one-acts with similar themes. It’s also the title of the classic song that opens the show, sung by cast members Donna Weinsting, Julia Crump, and Julie Layton. These three, along with Dominic Di Cicco and Gary Wayne Barker, join in a production that examines the lives of theatre people in the first half of the 20th Century, along with interludes of classic songs that underscore the themes in the plays. It’s an intriguing presentation, well-acted and performed, fitting well into the small performance space at the Curtain Call Lounge. 

The three plays featured weren’t written to be performed together, but as presented here, they work to show a progression in the life of an actress as she ages and experiences life and relationships with men. The first play “In Our Profession” features Annabelle (Layton) as an eager young woman after a rendezvous with the older, more detached Richard (Barker). When Annabelle starts talking “serious” about marriage, commitment, and leaving the transient theatrical life, Richard calls on his more “sincere” young friend Paul (Di Cicco) to bail him out, only to have Annabelle turn her attention–and her charms–to him.  This is a humorous, fairly short story with fun performances from the cast and quick pacing.

Next, “The Magic Tower” shows a slightly older Annabelle, who is now married to the younger, idealistic artist Jim (Di Cicco), living in a small attic room owned by landlady Mrs. O’Fallon (Weinsting), who is suspicious of Annabelle. When Jim goes out to try to sell his artwork to a promoter, her old stage friends Mitch (Barker) and Babe (Crump) visit, with the goal of trying to convince Annabelle to join them back on the road with the theatre troupe. The chemistry between Layton and Di Cicco is convincing here, as is Layton’s sense of insecurity as her old friends sow doubt in her mind about her new relationship.

Finally, “The Fat Man’s Wife” casts Annabelle as a middle-aged woman in an unhappy marriage to theatre producer Joe (Barker)–or “Josie”, as she calls him. It’s New Year’s Day, and the two have just returned from a party, in which Annabelle shared a flirtation with an idealistic young playwright, Dennis (Di Cicco), who later appears with his own enticing offer. Here, Layton is excellent at portraying how her years of life have affected the older but still lonely Annabelle. Di Cicco and Barker are also excellent as the two contrasting men. 

The performance ends with Weinsting serenading the cast with Stephen Sondheim’s “I’m Still Here” as a reminder of the ups and downs of show business, and the cast joins in for a reprise of “Life Upon the Wicked Stage”. It’s a strong cast all around, with entertaining musical performances of various songs, and memorable acting in the three plays. There’s also excellent work from costume designer Teresa Doggett and musical director Tom Clear. It’s a clever way to join these three plays together, and a fascinating, thought-provoking examination of the life of a “show person”. 

The Tennessee Williams Festival St. Louis is presenting Life Upon the Wicked Stage at the Curtain Call Lounge until August 18, 2024

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