Posts Tagged ‘st louis’

Bread And Wine’s “Christmas Short Play Festival” Brings Festive Spirit in an Inventive Setting

Posted in Uncategorized, tagged , , , , , , , , , , , , , , , , , on December 13, 2025| Leave a Comment »

A Christmas Short Play Festival
Bread and Wine Theatre Company
December 6, 2025

Bo Hanley, Peter D’Alessio
Haley Clegg, Laura Kyro
Photo by Roger Ottwell
Bread and Wine Theatre Company

Bread and Wine Theatre Company is a newer face on the St. Louis theatre scene, expressing a mission to “create innovative productions that highlight the beauty of a virtuous life”, according to CEO Owen Brown, who also directs one of the plays in their inaugural Christmas Short Play Festival. Held in a somewhat unusual venue, the Historic Sappington House, the festival features five plays and a cast of local performers. It’s an intriguing way to get to “know” a new theatre company while also exploring themes of love, loss, compassion, family–both biological and found, and the passage of time. 

The first and longest play of the evening is by celebrated playwright Thornton Wilder. “The Long Christmas Dinner”, directed by Brown, shows a family holiday gathering over the course of 90 years, starting in the 1840s and ending around 1930. The conceit is that it plays out showing the passage of time as one continuous gathering, starting early in the marriage of Roderick I (Adam Usry) and Lucia I (Haley Clegg), as they share a holiday meal with his mother, Mother Bayard (Bo Hanley). Over the course of the story, the conversation never stops, but characters grow old, get up and leave through a black curtain (apparently symbolizing death), as new characters enter, the family increases and decreases, and characters reflect on changing times and relationships. Much of the story focuses on Lucia and Roderick’s children, since from childhood to older age and played by Pietro D’Alessio as Charles and Laura Kyro as Genevieve, who join their parents and aging Cousin Brandon (Nicholas Urbanowicz), and are later joined by Charles’s wife Leonora (Tara Laurel) and their children Sam (Usry), Lucia II (Clegg), and Roderick II (Urbanowicz); and Cousin Ermengarde (Hanley). Abbey Robinson also appears as a nurse working for the family.  This is a fascinating play with a strong through-line of change and the passage of time. The performances are enthusiastic, with Kyro standing out for a believable portrayal of Genevieve’s growth from childhood to adulthood. The setting in the library building at Sappington House works especially well to set the mood and tone of this production.

The rest of the plays range from the very short to about 20 minutes in length, ending with a poignant if slightly over-the-top production of Dan Neidermyer’s adaptation of O. Henry’s classic “The Gift of the Magi”, directed by Travis Pfeifer. Michael Cox and Livy Potthoff are endearing as newlyweds Jim and Della, who struggle to find gifts for each other as they prepare to celebrate their first Christmas as a married couple. Bruce Jehling also appears in two roles, as Jim’s boss and as a shopkeeper.

The festival also features Cox in the title role of “Bosco’s Xmas” by Carol W. Berman, also directed by Pfeifer. This is a very short sketch about a cat, memorably played in a physically animated performance by Cox, who is seeking “revenge” by attacking his family’s Christmas tree. 

The remaining two plays are directed by Chandler Spradling. “The Last Mall Santa” by Michael Cox features Jodan Matt-Zeitler as Pete, a melancholy mall Santa who is reflecting on his time in this role, as his mall is undergoing difficult times and is about to close. The staging is clever here, as we see Pete interact with various toys that slide in from offstage, “playing” the roles of children who visit Santa. Pete grows sadder and more discouraged until his final visitor appears, this time played by a real child and aptly named Hope (Riley Shelembauer). It’s a poignant look at changing times and seasons, and the importance of hope.

“Baked Alaska” by Kelli Lynn Woodend features a group of guys from a rehab facility–Jeb (John Emery), Vigil (Connor Malone), and Clementine (Matt-Zeitler) being taken on a shopping trip by Freida (Hannah Lindsey) to buy Christmas gifts for their kids. It’s a little rough around the edges, but the message of kindness in hard times comes through clearly, making for a memorable sentiment. 

The location and seating arrangement adds much in the way of intimacy to the proceedings here, and although some of the performances are uneven, the Christmas spirit–in various forms–is palpable. It’s an intriguing look at a new theatre company with potential. I’m curious to see what else they bring in the future. 

Bread and Wine Theatre Company is presenting A Christmas Short Play Festival at the Historic Sappington House until December 13, 2025

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Audience Howls With Laughter at NJT’s Cleverly Staged “Baskerville”

Posted in St Louis Theatre, tagged , , , , , , , , on November 28, 2025| Leave a Comment »

Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery
by Ken Ludwig
Directed by Nisi Sturgis
The New Jewish Theatre
November 20, 2025

Nick Freed, Bryce A. Miller, John Wilson, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

It may be based on an iconic mystery series and its characters, but there’s no mystery about the appeal of Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery, as staged at The New Jewish Theatre under the direction of Nisi Sturgis. With clever staging, a sharp script, brisk pacing, and an excellent, enthusiastic cast, this tale of intrigue and mystery on the moors of Victorian England has its audience howling with laughter. The appeal is enhanced by great production values, and some fun audience participation gags. 

The story is framed in a similar way to the popular comedic staging of Patrick Barlow’s adaptation of  John Buchan’s The 39 Steps, but based on the even more well-known stories of celebrated detective character Sherlock Holmes (Nick Freed) and his intrepid assistant, Dr. Watson (Bryce A. Miller).  This one is based on the classic story The Hound of the Baskervilles, in which the two are enlisted to help on case involving a murder on the moors bordering a country estate, as the proprietor has been killed in a manner that mirrors an old legend in the Baskerville family, involving a giant, ferocious dog. Watson narrates the story, and takes the principal role, although Holmes still figures prominently, and three performers billed as Actor One (Sean C. Seifert), Actor Two (John Wilson), and Actress One (Alicia Revé Like) each play a variety of roles as the story takes the crime-solving duo from the streets of London to the Devonshire countryside on a caper that involves old legends, romance, sinister plots, murder, and all kinds of intrigue.

Like The 39 Steps, this story has been framed as a comedy, with much of the humor coming from the multi-casting elements and quick pacing, along with a clever script that covers all the familiar beats of a Holmes story but streamlines it to emphasize comic elements and provide many elements to showcase the versatility of the performers.  It’s a fun show, and I’ve seen an excellent production in St. Louis before, a few years ago. At NJT, what stands out this time is the audience participation element, as well as several self-referential and “breaking the Fourth Wall” moments that add much hilarity to the proceedings. The cast members are kept on their toes by the pacing, and they handle the workout with much energy and quick thinking, resulting in a  hilarious evening of suspense and riotous laughter, with a haunting gothic-styled backdrop of dramatic music and excellent production values. 

The creepy, haunting, suspenseful tone of the proceedings are greatly enhanced by means of a marvelously versatile and deceptively simple set by Reiko Huffman that consists of quick-change set pieces and various movable elements on wheels, all painted and styled in suitable Victorian fashion. And speaking of fashion, Michele Friedman Siler’s costumes do a great job of outfitting the characters, working well with fast character changes, and maintaining the 19th Century mood and style. There’s also strong work from lighting designer Katherine Stepanek, keeping the tone dark and haunting while making everything clearly visible to the audience and in keeping with the heightened comic tone.  There’s also a memorable soundtrack and music designed and composed by Victoria Deiorio, recreated with flair for this production by Ethan Foss.

The cast that has been assembled here is nothing short of fantastic, led by Miller in a charming turn as the determined and often bewildered Watson, who is essentially the heart of this story. Freed is also effective and thoroughly credible as the mysterious but almost infuriatingly competent Holmes, and this duo’s interactions form much the humor here, although the three support players carry much of that weight as well. Miller also has easy rapport with Wilson’s most prominent character, the amiable Texan heir to the estate, Sir Henry Baskerville, who also has excellent moments with Like as the conflicted Beryl, with whom Sir Henry becomes smitten. Wilson also excels in his other roles, such as the grumpy Detective Lestrade, and Siefert and Like each play a variety of characters with enthusiasm and distinction, with Siefert as the mysterious Jack Stapleton and supportive Dr. Mortimer, and Like memorable as the sympathetic Beryl and persistent young Cartwright, who helps Holmes on the case in London. There’s so much energy in this show, and the rapport the performers have with one another and with the audience contributes to the overall enjoyment here, with a few wardrobe mishaps being covered well and adding to the humor to the point in which it’s not entirely clear if they really were mishaps or if they were planned. The building suspense and overall gothic tone is well-maintained by the cast as well, providing much in entertainment value.

“Entertaining” is a great word for the overall experience here. That, and “fun”, for the audience and apparently for the cast as well. I also appreciate the staging with the audience divided and the performance area in the middle, which is a format this company has used before to excellent effect. For Sherlock Holmes fans, I think this show would be especially appealing, although there’s enough broad appeal for anyone. It’s a good way for NJT to end their season with a flourish, and a roar of laughter from their audience. 

Sean C. Seifert, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery at the J’s Wool Studio Theatre until December 7, 2025

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Well-Cast “Bat Boy” Makes a Strong Impression at New Line

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

Bat Boy
Story and Book by Keythe Farley & Brian Flemming
Music & Lyrics by Laurence O’Keefe
Directed by Scott Miller and Chris Moore
New Line Theatre
October 3, 2025

Brittany Kohl, Rafael DaCosta, Marlee Wenski
Photo by Chris Moore
New Line Theatre

It’s the time of year again, when many theatre companies turn toward weirder and/or spookier subject matter in the lead-up to Halloween. In that vein, New Line has chosen to revisit a show they’ve done before, the tabloid-inspired sci-fi/horror dark comedy Bat Boy, which provides a good opportunity for its cast and crew to ham up a storm while also conveying a warning message about jumping to judgment and blame of “outsiders” for the world’s problems. Under the direction of Scott Miller and Chris Moore, New Line has put a lot of energy into this production, which features striking production elements and a strong, enthusiastic cast of local performers.

I didn’t see the last New Line production of this show, but I’ve seen a production by another local company, so I was familiar with the plot and tone of the piece. The story, inspired by a fictional tabloid story featured in the infamous Weekly World News, focuses on a mysterious “Bat Boy” (Rafael DaCosta), who is encountered by three young siblings–Rick (Zachary Thompson), Ruthie (Chelsie Johnston), and Ron (Bee Mecey)– who are exploring a cave. When the Bat Boy bites Ruthie, the kids are frightened and call in the police, who seek to consult local veterinarian Dr. Thomas Parker (Ian McCreary) about what to do. The Bat Boy is then taken to Thomas’s house, where his wife Meredith (Brittany Kohl) and daughter Shelley (Marlee Wenski) meet the boy first, and while Shelley is creeped out at first, Meredith is more sympathetic, naming him “Edgar” and promising to take care of him and teach him manners. As the townspeople remain suspicious of Edgar, whom they regard as a “monster”, he soon reveals himself to be a quick learner and a sensitive soul under the tutelage of Shelley and Meredith It soon becomes clear, however that Thomas isn’t happy with the attentions Meredith is paying to the boy, and while Edgar seeks to win the town over with his personality, and he and Shelley grow ever closer, long-held secrets are about to be revealed, threatening the hopes, assumptions, and even the lives of the town, the family, and Edgar himself.

The whole tone is heightened and exaggerated, as is fitting for a story based on an over-the-top tabloid. It also calls to mind some of those old “B” grade sci-fi and horror films from the 50s and 60s, and the physical production at New Line helps that vibe along by means of Becca Rose Bessette’s well-crafted costumes, and the alternately humorous and haunting score ably played by a small but excellent band led by music director Jason Eschofen. There’s also a fairly minimalist but practical framework set by Rob Lippert that provides an ideal base for the action, aided by strong work from lighting designer Bradley Rohlf, and sound designer Ryan Day. 

Casting is key in this show, with the role of Edgar the Bat Boy being especially demanding physically, emotionally, and vocally. DaCosta is excellent in the role, with energy and stage presence at the forefront, creating a character who is at once sympathetic and awkwardly charming. His scenes with Kohl’s also strong Meredith and Wenski’s plucky Shelley are especially compelling. There’s also a fine turn from McCreary as Thomas, and a strong ensemble who mostly play various characters–Stephen Thompson, Mecey, Zack Huels, Ronmal Mottley, Zachary Thompson, and Johnston, with Huels a particular standout vocally in the “Children, Children” number in the second act. The overall darkly comic energy is handled with entertaining enthusiasm.

This is a show that has a lot of laughs and a few cringey horror moments, but also a palpable message warning against the dangers of judging people based on appearance and preconceived notions. It’s alternately creepy, haunting, offbeat, and deliberately sensationalist, with some crass humor and suggestive themes. Bat Boy strikes just the right tone for this time of year, and it’s a good start to a new season for New Line.

Cast of Bat Boy
Photo by Chris Moore
New Line Theatre

New Line Theatre is presenting Bat Boy at the Marcelle Theatre until October 25, 2025keth

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Eclectic “Dollhouse” Challenges and Entertains at ERA

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

Dollhouse by Three Manufactures
Adapted from A Doll’s House by Henrik Ibssen
Directed by Miranda Jagels Félix, Spencer Lawton, and Jimmy Bernatowicz
Equally Represented Arts
July 31, 2025

Frankie Ferrari, Hailey Medrano
Photo: ERA

 

ERA is at it again. This wildly inventive theatre company is re-examining a classic work as usual, with their characteristic experimental lens. This time, they’re doing something new, even for them. With Dollhouse by Three Manufacturers, the challenge is to present a coherent adaptation of Henrik Ibsen’s A Doll’s House with each act directed by a different person, with notably contrasting approaches. Although there are a few issues with coherency in moments, for the most part I would say that this experiment is a bold, provocative success. 

I will say that this is one of those shows that works best when the audience is somewhat educated about the source material. If you’re never seen A Doll’s House, it would be useful to find a synopsis online and familiarize yourself with the basic plot, because that will make the madcap, high-energy tone of (especially) Act 1–directed by Miranda Jagels Félix–easier to follow. The story of the pampered housewife Nora Helmer (Hailey Medrano) and her doting but oddly paternal husband, Torvald (Frankie Ferrari) is at first framed as something of a fever dream, introduced by a lounge-singer type “Mistress of Ceremonies” (Molly Wennstrom) who sings classic pop and jazz standards before the story begins that work to call attention to the subject matter of the show and add a satirical air, like “My Heart Belongs to Daddy” and others. The characterizations are played as fairly over-the-top, as the central dilemma is introduced–bank manager Torvald is about to fire longtime employee Nils Krogstad (Andrew Bayer), but Krogstad has a secret he shares with Nora involving how she was able to help Torvald during a health crisis, and he Krogstad threatens to expose Nora if she doesn’t help him. Meanwhile, Nora’s old school friend Christine (Victoria Thomas) shows up also looking for a job after being widowed, and Nora struggles with the expectations of what it means to be a wife and mother in a society in which men have all the power. This is a stylized act, where much of what Torvald says is recited by the entire cast together (minus Nora), and much of the staging is symbolic and briskly paced. It’s something of a farce, but with a highly satirical edge. There are laughs, but some of the dialogue can be hard to follow at times, especially during the group recitations.

Act 1, which is somewhat frantic, eventually gives way to Act 2, directed by Spencer Lawton, which slows down to a calmer, more somber pace, for the most part. The characters are played much closer to the “traditional” tone of A Doll’s House, making the story and the emotional weight of the proceedings a bit easier to understand. The cast keeps up the pace and transition well here, and the tone shift works especially well considering that it serves as something of a “rest” between the much more stylized first and third acts while also communicating the story and themes with clarity and emotion.

And then comes Act 3, directed by Jimmy Bernatowicz, which is the most obviously polished and precisely choreographed of the thee parts, in which the story suddenly becomes a fully realized 1950s live sitcom, complete with actual cameras as the story is filmed and projected onto the curtain at The Chapel as the story plays out. The characterizations are a bit broader again, and the sitcom format brings a good deal of laughter, as does the inclusion of live commercials integrated into the plot, as old TV and radio shows often used to do. What’s especially brilliant here is how the commercial narratives are blended with the themes of Nora’s story, particularly toward the conclusion as the commercials come to be about dolls, emphasizing the doll-like existence Nora has endured, and her increasing desire to break out of that. It’s an impeccably staged act, featuring  well-integrated live music (particularly the Buddy Holly classic “True Love Ways”), marvelous special effects, and top-notch performances by the cast. 

As for the cast, everyone is excellent and on-point, adjusting their performances to the tone of the different acts, but also keeping their characters recognizable throughout. Medrano is at turns hilarious, heartbreaking, timid, and bold as Nora, and Ferrari’s Torvald is suitably paternal and frustratingly upbeat until the devastating conclusion. There are also impressive portrayals by Bayer as the insistent Krogstad, Thomas as the somewhat enigmatic Christine, Ross Rubright as the gentle and ailing Dr. Rank, and Morgan Schindler as the family’s nanny/maid Ann-Marie, who is essentially a blend of two characters in the original play. Wennstrom makes for a memorable Mistress of Ceremonies, as well, and all of the players work well with the shifts in tone between the acts, keeping up the energy of the story as the styles change throughout.

The technical qualities of this show are also excellent and memorable, with a strong sense of “dollhouse” theming and and a versatile set by Lucy Cashion and Bernatowicz. There are also fantastic costumes by Meredith LaBounty, dazzling lighting by Jayson Lawshee, and terrific video and A/V work by Joe Taylor, especially in Act 3. 

This is unmistakably an ERA show, with emphasis on satire and critical examination of its source material–here featuring a critique of patriarchy and roles of men and women in society. It’s a new approach from a company that keeps coming up with fascinating new approaches. It may not appeal to all tastes, but I find it fascinating and especially entertaining. It’s worth a look especially if you love experimental theatre. 

Morgan Schindler, Molly Wennstrom, Andrew Bayer
Photo: ERA

Equally Represented Arts is presenting Dollhouse by Three Manufacturers at The Chapel until August 9, 2025

 

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“Austen’s Pride” is An Entertaining, Promising Look at a Famous Author and Story

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

Austen’s Pride: A New Musical of Pride and Prejudice
Book, Music, and Lyrics by Lindsay Warren Baker and Amanda Jacobs
Directed by Igor Goldin
Choreographed by Lisa Shriver
STAGES St. Louis
July 30, 2025

Dan Hoy, Olivia Hernandez, Delphi Borich
Photo by Phillip Hamer
STAGES St. Louis

The latest offering from STAGES St. Louis is a pre-Broadway showcase performance, the second they’ve done after The Karate Kid three years ago, and at least for me, this effort is even more promising than the last one. I’m admittedly a big Jane Austen fan, having read her novels and seen many of the film, television, and stage adaptations. This latest new musical, though, is more than just an adaptation. Austen’s Pride: A New Musical of Pride and Prejudice, is about Austen herself as much as it is about her most well-known novel. And while there are some aspects that could use a little bit of work, for the most part it’s an intriguing, entertaining showcase for a great cast and excellent melodic score. 

With book, music, and lyrics by Lindsay Warren Baker and Amanda Jacobs, Austen’s Pride starts out on a mostly dark stage, with Jane Austen (Olivia Hernandez) trying to figure out what to write next after the success of her novel Sense and Sensibility. Her devoted sister Cassandra (Dianica Phelan) suggests Jane revisit an old draft of hers, a novel called First Impressions, but Austen isn’t sure she wants to write another love story. Then she starts reading through the story and the characters appear, with Austen making changes as it goes along and reflecting on incidents from her own life which influence the story in various ways. She also interacts directly with the characters at times, especially heroine Elizabeth Bennet (Delphi Borich), as Elizabeth’s story becomes influenced by Austen’s own experiences, and Austen herself becomes affected by the story that seems to have a life of its own.

The Pride and Prejudice story is familiar to many, and all the well-known characters are here, from the lead character Elizabeth to her suitor Mr. Darcy (Dan Hoy), and her whole family, including parents Mr. Bennet (Kevyn Morrow) and Mrs. Bennet (Sally Wilfert), and sisters Jane (Addie Morales), Mary (Sarah Ellis), Kitty (Cali Noack), and Lydia (Kate Fahey). We also meet the various suitors, including the kindly, effusive Mr. Bingley (Cole Thompson), the oafish Mr. Collins (Paul Castree), and the charming but rakish Mr. Wickham (Michael Burrell). Several of the cast members also play other characters as needed, with notable examples being that Wickham’s actor also plays Austen’s former suitor Tom Lefroy, and Mrs. Bennet’s performer also plays the imperious Lady Catherine DeBourgh.

Of course there’s a lot of condensing here, and the blending of Austen’s personal life with the story is easier to follow if you know more about the author’s history. Also, some of the character cuts affect the tone of the story in ways I’m not sure work as well as they should–especially in terms of Lady Catherine, who comes across as even more unreasonable than in the book, since all reference to her daughter Anne has been removed (without even one mention), which makes Lady Catherine’s objections to Darcy’s interest in Elizabeth even more ridiculous than they are in the novel. Also, some characters seem like the writers didn’t always know what to do with them, like Cassandra, who has some excellent moments but also disappears for long stretches to the point where it’s easy to forget she was there in the first place. There’s also little suspense in whether the story will actually be finished, because we know that it was in “real life”, and some of the efforts to add conflict come across as clumsy (especially at the end of Act 1). 

Still, those are issues that can be worked on, and for the most part, Austen’s Pride is an intriguing, thoroughly entertaining show, with a broadly witty sense of humor and a believable connection between Austen and her story, as well as an excellent treatment of the growing relationship between Elizabeth and Darcy. The casting is first-rate, as well, with Hernandez showing excellent presence as Austen, with a bit of a Mary Poppins vibe and marvelous vocals. Borich is also fantastic as Elizabeth, working especially well with Hernandez’s Austen and Hoy’s note-and-book perfect Mr. Darcy. The rest of the cast is also strong, with Phelan making the most of the underwritten role of Cassandra, Morrow and Wilfert memorable as Mr. and Mrs. Bennet, and all the Bennet sisters being especially well-cast. Special note goes to Ellis, who makes the most of three roles–the stuffy, socially awkward Mary Bennet, the priggish Caroline Bingley, and Elizabeth’s kindly aunt Mrs. Gardiner. Cole Thompson as Mr. Bingley, Castree as both Mr. Collins and Mr. Gardiner, and Burrell as Wickham and Tom Lefroy all give strong turns as well. It’s a strong ensemble all around, with a good deal of energy and enthusiasm in the production numbers and dances choreographed by Lisa Shriver with a fun blend of Regency styles and modern Broadway flair. 

The set and technical aspects of the show are deceptively simple, with little in the way of actual set pieces and a lot being done with lighting and projections. Josh Zangen’s set is notable for its economy, with a few furniture pieces that move on and off as needed, and excellent projected backdrops. Jason Lyons’s lighting adds much to the atmosphere and whimsical quality of much of the story, and Phillip Peglow’s sound is crisp and clear. There’s also excellent work from Emily Rebholz on the marvelously detailed costumes, and by Tommy Kurzman on wig and hair design. The orchestra, led by music director Sheela Ramesh, is in fine form, as well, lending a lush sound to the sweeping new score by Baker and Jacobs. 

Ultimately, there’s much to love about Austen’s Pride, even if aspects of it could stand some revision. Especially for Jane Austen fans, this is a fun, fascinating story. It also works as a great showcase for it’s talented cast, and especially its leads, Hernandez and Borach. It’s a promising show given a memorable staging at STAGES St. Louis.

Cast of Austen’s Pride
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Austen’s Pride at the Kirkwood Performing Arts Center until August 24, 2025

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“Disney’s Frozen” at the Muny Makes for a Winter Wonderland in a STL Summer

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

Disney’s Frozen
Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Book by Jennifer Lee
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 7, 2025

Bobby Conte, Patti Murin, Hannah Corneau
Photo by Emily Santel
The Muny

Frozen is a phenomenon that has turned into a franchise, but it started out as a single animated film in 2013. It has since spawned sequels and a successful Broadway musical that has been produced and toured in various countries around the world.  The Muny is now presenting its first production of the show, and it’s somewhat ironic that it’s  being staged in the middle of a particularly hot St. Louis summer, considering the story features a song about summer sung by a snowman, comically emphasizing the fact that snow and summer heat don’t usually mix. At the Muny, however, these elements prove to be a successful combination, providing an entertaining respite from the heat as well as a dazzling spectacle that makes the most of a somewhat minimalist set and at least one truly jaw-dropping special effect. Add that to a terrific cast and energetic staging, and it becomes a successful recipe for wintry wonder in Forest Park. 

The story will be familiar to many, considering how ubiquitous the franchise has become, as reflected by the many families with small children in Frozen-inspired outfits in the audience at the Muny. It’s a popular story of magic, mystery, secrets hidden and revealed, sisterhood, family, and love in various forms. It also challenges a few familiar “fairy tale” tropes and features a score of memorable songs including the iconic, Oscar-Winning “Let It Go”. The main focus is on the sisters Anna (Patti Murin) and Elsa (Hannah Corneau), who are close as children, but are driven apart as a result of an incident that causes Elsa and her parents (Ann Sanders as Queen Iduna, Jonah D. Winston as King Agnarr) to conceal her magic ice powers from Anna and the rest of the world, and further events cause Elsa to become even more reclusive and fearful.  

Years later, when the sisters are young adults and Elsa is about to be crowned Queen, the gates are opened in both the literal and figurative sense, as Anna becomes enamored with the outside world and with Prince Hans (Bobby Conte), who she just met. Meanwhile, Elsa still struggles to control her powers, which unleashes a sudden winter on the Kingdom of Arendelle and a self-imposed exile for Elsa. As Hans is left in charge of the Kingdom, Anna heads out to find Elsa, with the help of ice-merchant Kristoff (Jelani Remy) and his reindeer, Sven (Andrew A. Cano). They are soon joined by Olaf the snowman (Kennedy Kanagawa), as they race to find Elsa before the townspeople–who are quickly beginning to view Elsa as a monster–get there first. 

It’s a well-done show, for the most part, with a few new songs added to the film score, as well as an expanded story that seems a bit choppy at times, but comes together well in the end. The showcase number “Let It Go” isn’t given quite the setup it needs, but the excellent Corneau as Elsa delivers it with energy and vocal power, and the technical effects are truly stunning, including the most spectacular quick costume change I have ever seen onstage. Even though the set by Tijana Bjelajac is fairly minimal compared to the touring production I saw at the Fox a while back, it works well for the Muny’s stage and in conjunction with some truly spectacular video projections by Kylee Loera, as well as dazzling lighting by Jason Lyons (including lasers), and excellent sound design by John Shivers and David Patridge. The costumes by Robin L. McGee are colorful and eye-catching as well, and the puppet design by Eric Wright and Puppet Kitchen is memorably fantastic, aided by the strong and especially memorable performances of Kanagawa as  Olaf and Cano (accompanied by another performer in the costume) as Sven. There’s also a great Muny Orchestra led by music director Darryl Archibald that brings out all the style and emotion of the memorable score.

The cast is fantastic, including strong performances from Isla Turner and Maliah Strawbridge as Young Anna and Elsa, respectively, who figure into the story quite a bit. Their adult counterparts are also excellent, with the aforementioned Corneau bringing out the right level of emotion and reserve as Elsa, and original Broadway Anna Patti Murin bringing a bouncy, likable energy to the role. Both performers portray a believable sisterly bond, as well, and the chemistry between Murin and both of and her leading men–the awkwardly charismatic Conte as the initially likable but mysterious Hans, and the stubborn-but-charming Remy as Kristoff–is strong and believable. There are also memorable turns from Jared Gertner as the snooty, skeptical Duke of Weselton; Mark Saunders as the enthusiastic trader Oaken, who leads the hilarious Act 2 opening production number “Hygge”; and Chris Stevens and Cecilia Snow as Pabbie and Bulda of the “Hidden Folk”, who figure in the story in various ways. There’s a strong, energetic ensemble as well, including the Muny Teen and Youth Ensemble, plays various roles and adding much enthusiasm to Patrick O’Neill’ clever and vigorous choreography.

Ultimately, Disney’s Frozen works especially well as the Muny’s “family show” for 2025. Although the show itself isn’t quite as tightly plotted as the film, it’s an entertaining spectacle in its own right, and it looks great on that big Muny stage. It’s also a fun wintry change of pace in the midst of another sweltering St. Louis summer. 

Jelani Remy (Center) and Cast
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Frozen in Forest Park until July 14, 2025

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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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