Posts Tagged ‘steve woolf studio series’

“Mrs. Krishnan’s Party” Is a Festive Cultural Celebration Hosted by the Rep

Posted in St Louis Theatre, World Theatre, tagged , , , , , , , on January 17, 2026| Leave a Comment »

Mrs. Krishnan’s Party
by Jacob Rajan and Justin Lewis
Directed by Justin Lewis
Indian Ink Theatre Company at Repertory Theatre of St. Louis
January 16, 2026

Kalyani Nagarajan, Justin Te Honihana Pokaihau Rogers
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is hosting a party, and it’s a lot of fun. As the latest entry is their Steve Woolf Studio series, the company is playing host to New Zealand’s Indian Ink Theatre company, who have brought their lively, colorful and energetic Mrs. Krishna’s Party to St. Louis with energy, style, and a good deal of heart. There’s also food, and if you like Indian food, this should be a treat in more ways than one. 

This is more of an immersive experience than a simple play. The audience members get to choose their seating, from “Inner Circle” to “Cheeky” to “Wallflower” depending on how much they want to be included in the action, as there’s quite a pervasive audience-participation element to the show. The guests are all seated by James (Justin Te Honihana Pokaihau Rogers) and introduced to the setting–an Indian grocery store in New Zealand, where James is hosting a party celebrating the Hindu harvest festival of Onam, as a surprise for his landlady and shop owner Mrs. Krishnan (Kalyani Nagarajan). James, dressed in an elaborate costume in keeping with the story behind Onam, is also an aspiring DJ, and shares his festive playlist with the guests. When it comes to the surprise, Mrs. Krishnan doesn’t take it well, at least initially, as she’s waiting for her son to fly in from out of town, and she also has a busy shop to run, although she’s been considering selling it so that she can move back to India. The enthusiastic and upbeat James encourages Mrs. K to get into the spirit of the party, and she gradually comes around, as the two soon start cooking a festive meal and explaining what Onam is about. As the evening plays out, we soon learn more about Mrs. K and her backstory, as well as why James lives with her, and her relationships with her son, her late husband, a mysterious “friend” who keeps calling her on the phone, and more. It’s a fun, humorous, and occasionally poignant look at life, family, loss, and perseverance, as well as a celebration of Indian culture, heritage, and food.

The leads are simply fantastic, full of energy and lively embodiment of their immensely likable characters. Nagarajan and Rogers are also especially adept at going with the “flow” of the store, as frequent audience interaction–and involving audience members directly in the story–creates many opportunities for improvisation. Both performers shine in these moments, and throughout the show, with Rogers in a vivacious, amiable turn as the young, somewhat aimless but still optimistic James, and Nagarajan in a fully-realized turn as a hardworking widowed mother with a heart for her family and tradition but who is also dealing with the effects of past tragedy and hardship. The interplay between these two characters–and between them and the audience–are a true highlight of this vibrant, fun production. They also manage to cook a (vegetarian, gluten-free) meal onstage–imbuing the air with the wonderful smells of Indian cuisine–as the story plays out.

The studio space has been adapted ideally for the party setting, which is supposed to be in the back room of Mrs. Krishnan’s shop. The industrial look and well-placed party decorations work well for creating and maintaining the DIY festive vibe, with set design by John Verryt. Jane Hakaraia’s lighting and Lia Kelly’s sound also add much to the atmosphere, and the fun touches like colorful scarves and balloons handed out to the audience add to the festive tone. There’s also excellent costume design by Fiona Nichols, reflecting the festive tone and celebration of culture, and also suiting the characters appropriately. 

Mrs. Krishna’s Party is a well-paced, especially well-cast show with energy and emotion, as well as being an effective lesson in history and culture that many in the audience might not know about. There’s also great food, handed out after the show. It’s unique experience, and the audience seemed to have a great time when I saw it. I’m still not exactly thrilled about the Rep’s hosting tours, but this one is a memorable showcase for a little-known (in the USA) Indian-focused theatre company based in New Zealand. Kudos to all involved, although knowing the next studio show is also a tour makes me hope even more that the Rep will focus more on locally-produced shows in the future. 

Justin Te Honihana Pokaihau Rogers and Audience
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is hosting Indian Ink Theatre Company’s production of Mrs. Krishnan’s Party as part of the Rep’s Steve Woolf Studio Series until February 8, 2026

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Engaging Characters Spar with Humor, Insight in The Rep’s Fast-Moving “Athena”

Posted in St Louis Theatre, tagged , , , , , , , on January 22, 2025| Leave a Comment »

Athena
by Gracie Gardner
Directed by Nancy Bell
January 17, 2025

Jailyn Genyse, Isa Venere
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

Teenagers playing sports has become a prime topic for drama, or in the case of the Rep’s newest production in their Steve Woolf Studio Series, comedy-drama. Gracie Gardner’s Athena looks at ambitious young fencers and their world, including their hopes, dreams, fears, and contrasting personalities as they each strive for excellence and success. Featuring a strong cast, a realistic set, and impressive production values, this is an engaging character study that brings the audience into its world with well-choreographed fencing action to add to the show’s appeal.

The central character is Mary Wallace (Jailyn Genyse), a determined but insecure young fencer who is looking to qualify for the national championships in hopes of being recruited by a top college. Mary Wallace is studious, somewhat reserved, and kind of stickler for the rules. When she fences against a brash opponent who calls herself Athena (Isa Venere), she’s challenged to be bolder and fiercer in her approach toward fencing and toward life. Meanwhile, Athena deals with a difficult home situation and often seems to be using her own boldness to mask her own uncertainty. The two become training partners and, gradually, friends, as Athena introduces Mary Wallace to dance clubs and pushing societal boundaries, and Mary Wallace encourages Athena to be more considerate of others. Anxiety builds as the big competition approaches, but what will it bring for these two ambitious fencers and their relatively new friendship?

The performance space has been set up with a clever and deceptively simple set by Seth Howard that serves as both the training space and the competitive arena, as well as other areas around the New York City area as needed. There’s also excellent lighting by Jayson M. Lawshee and sound by Jimmy Bernatowicz that works to enhance the overall competitive fencing atmosphere, along with realistic costumes by Renee Garcia. The pacing is brisk throughout the play’s short runtime, with dynamic fencing sequences  and a realistic athletic atmosphere. Kudos to fencing consultant Annamaria Lu for contributing to this overall air of authenticity.

The characters are at the center of this show, and particularly the developing relationship between Mary Wallace and Athena, made all the more believable and entertaining by the excellent performers in these roles. Genyse brings an amiable, relatable quality to Mary Wallace, making her easy to cheer for, and Venere is an ideal foil (pun intended) and a strong presence as Athena, whose brashness hides a vulnerability that Venere makes apparent. The back-and-forth sparring between these two, both in their fencing and in their budding  friendship, is what makes this show so fun to watch, with an approachable humorous tone that’s  balanced out with credible, poignant dramatic moments. There’s also a fine turn from Carmen Cecilia Retzer, making a memorable impression in a smaller role as Jamie, another fencer Mary Wallace works with. 

The Steve Woolf Studio Series is a great way for the Rep to showcase “smaller” shows with the company’s usual technical excellence and memorable performances. Athena is a prime example of a show that works well in this smaller space, featuring action and energy, but especially on character and first-rate performances. In some ways it reminds me of another play the Rep did in this space a few years ago, the youth soccer-focused The Wolves.  Athena is a play about sports, but even more so, it’s about the characters, their goals and their affects on one another. Even if you don’t know much about competitive fencing (there’s an information card included in the program), it’s a fascinating show to see. 

Jailyn Genyse, Isa Venere
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre or St. Louis is presenting Athena as part of their Steve Woolf Studio Series until February 9, 2025

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The Rep’s “Roommate” is a Well-Cast Character Study With Intriguing Issues to Ponder

Posted in St Louis Theatre, tagged , , , , , , on October 31, 2024| Leave a Comment »

The Roommate
by Jen Silverman
Directed by Rebekah Scallet
Repertory Theatre of St. Louis–Steve Woolf Studio Series
October 25, 2024

Kelley Weber, Nancy Bell
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep’s Steve Woolf Studio Series is back in its familiar location with a production of Jen Silverman’s fascinating two-character dramedy The Roommate. Starting off as somewhat of an Odd Couple-type tale of two roommates with contrasting personalties, the story evolves into an examination of societal expectations, self-expression, and more. At the Rep, as directed by Rebekah Scallet, this is a superbly cast show featuring two excellent local performers, as well as featuring especially impressive production values.

The story is set in Iowa, in a modest, cozily decorated house owned by the somewhat socially awkward Sharon (Kelley Weber), who has recently gone through a divorce and has lived something of a sheltered life in the Midwest. Feeling lonely, Sharon has advertised for a roommate, who turns out to be Robyn (Nancy Bell), a more worldly-wise former denizen of the Bronx, New York, who gives the sense that she’s trying to start a new life in a completely new place. Sharon meets Robyn with a mixture of trepidation and excitement, as Robyn is so different from everyone else she knows–vegan, gay, city-raised and into growing “medicinal herbs”,  while Sharon herself hasn’t experienced much outside of what’s been expected of her. As the two get to know one another, they form a friendship and it becomes clear that both have regrets and secrets, with their lives being changed in various ways that may or may not be healthy or legal. 

This is a fascinating study of contrasting characters and their influence on one another, as well as exploring the effects–both positive and potentially negative–of one woman who has been used to a life with few attachments and restrictions suddenly coming into the life of someone who has spent her life being told “no” either directly or indirectly. The interplay between the characters is what makes the story, and the actors are fantastic, with Weber’s initially reticent but increasingly enthusiastic Sharon and Bell’s more experienced but secretive Robyn working especially well together, with strong chemistry and a believable growing bond as well as credible degree of tension. Both performers have strong presence, excellent comic timing (especially Weber), and impressive emotional range. These characters are the show, essentially, the performance make the show immensely engaging.

The world of these two characters is well-realized by means of Robert Mark Morgan’s stunningly realistic set. It seems like the audience is sharing the home with the roommates, adding a level of engagement to the already intriguing story. Lou Bird’s costumes suit the characters well, with both Sharon and Robyn having an array of outfits that reflect their personalities as the story develops. There’s also excellent work from lighting designer Jayson M. Lawshee and sound designer Kareem Deanes, bringing the small-town Iowa location and atmosphere to life.

The Roommate represents a welcome return for the Steve Woolf Studio Series at the Rep. It’s a story that covers a lot of issues, and will give audiences much to think and talk about in terms of relationships with new friends, parents and adult children, and the influence of “bolder” personalities on those who might not seem as bold. With two excellent starring performances and an impressive set, this is a show that’s well worth checking out.

Kelley Weber, Nancy Bell
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Roommate as part of their Steve Woolf Studio Series until November 17, 2024

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The Rep Explores a Fascinating Relationship with Well-Cast “Gruesome Playground Injuries”

Posted in St Louis Theatre, tagged , , , , , , on April 26, 2023| Leave a Comment »

Gruesome Playground Injuries
by Rajiv Joseph
Directed by Becks Redman
Repertory Theatre of St. Louis, Steve Woolf Studio Series
April 21, 2023

Jessika D. Williams, Brian Slaten
Photo by Phillip Hamer
Repertory Theatre of St. Louis

Gruesome Playground Injuries is a somewhat provocative title for a play. Although there are injuries involved, and some sensitive subject matter, this is primarily a play about a relationship. As part of the Repertory Theatre of St. Louis’s Steve Woolf Studio series, and utilizing the excellent black box theatre space at the Kirkwood Performing Arts Center, this is a cleverly staged, quirky and intriguing production that features a first-rate cast and striking production values.

Written by Rajiv Joseph, directed by Becks Redmond, and starring Brian Slaten as Doug and Jessika D. Williams as Kayleen, the play follows its two characters in a format that’s not exactly linear, but doesn’t seem random either. We first meet Doug and Kayleen as 8-year-olds in Catholic school, waiting in the nurse’s office because Doug has injured himself riding his bike off the school roof, and Kayleen has an upset stomach.  The two bond over juvenile humor and gross-out jokes, and their contrasting personalities are shown more clearly as they grow. The adventurous and loyal Doug, and the more anxious, insecure Kayleen have several key meetings over the years, as they become friends, drift apart, and then reconnect in a series of memorable moments, occurring in five year increments and told in an order that makes sense as the events of the play unfold. The players also stay onstage for the duration of the show, changing costumes in between scenes and marking their characters’ ages with a marker on a large mirrored backdrop. 

It’s an intense show, with balanced moments of humor and drama, and well-drawn characters whose connection is made all the more believable through the excellent performances and chemistry of Slaten and Williams, who portray their characters and their evolving relationship dynamic with energy and credible emotion. Their thoroughly engaging performances and director Redman’s well-paced staging work together to tell a believable, highly involving story.

The technical qualities of this production are also strong, serving the story well and helping to advance the mood and energy of the story. The carpeted unit set, designed by Diggle, is versatile and makes an appropriate backdrop for the action as the characters grow from childhood to adulthood. The set does have aspects of a playground, as suggested by the play’s title. There’s also evocative lighting by Anshuman Bhatia and superb sound design by Kareem Deanes, as well as appropriately atmospheric music by David Gomez. The costumes, by Carolyn Mazuca, are well-suited to the characters and changing times, as well as working well for the quick scene changes as the story progresses.

It’s worth noting that there is some sensitive subject matter here, including discussions of depression, physical injuries, self-harm, and sexual assault. It’s a vividly portrayed, often irreverently humorous tale of two people who share a lasting bond despite periodic long separations. Gruesome Playground Injuries may suggest gore and guts in its title, but what’s really at its core is the intense connection of the memorable characters.  Although the ending is somewhat abrupt, the story itself is a vivid, characterful theatrical experience. 

Jessika D. Williams, Brian Slaten
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Repertory Theatre is presenting Gruesome Playground Injuries at the Kirkwood Performing Arts Center until May 13, 2023

This review was originally published at KDHX.org

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Provocative, Evocative “Feeding Beatrice” Brings Chills, Impressive Performances to the Rep Studio

Posted in St Louis Theatre, tagged , , , , , , , on November 4, 2019| Leave a Comment »

Feeding Beatrice
by Kirsten Greenidge
Directed by Daniel Bryant
Repertory Theatre of St. Louis, Studio
November 1, 2019

Lorene Chesley, Nathan James
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is launching its Steve Woolf Studio Series for 2019-2020 with a World Premiere production that provides a new, semi-immersive experience to go along with a thought-provoking, thoroughly chilling play. Kirsten Greenidge’s Feeding Beatrice takes its characters, and its audience, on a mysterious, increasingly terrifying journey into a crumbling old Gothic house, and into a highly metaphorical exploration of several important topics in American life. As is usual for the Rep, the casting and production values are impressive, as well, with the house as very much a character in the show, and a particularly strong set of performances at its heart.

As I’ve written before, I’ll be the first person to say that horror shows aren’t generally my cup of tea. Especially around Halloween season, though, these kinds of shows are not uncommon in the St. Louis theatre scene. This year, the Rep’s offering is essentially the only one, and it’s more of the “psychological thriller” type than the “blood and guts” type, which makes it initially easier to take at least for me. Still, even though this isn’t a gory show for the most part, it’s still thoroughly creepy and insidious, as the horror kind of sneaks in slowly and then moves in to stay. Or, in the case of one particular ghost, never really left in the first place. The premise starts out simple enough, as new residents Lurie (Nathan James) and June (Lorene Chesley) spend some romantic time in the upstairs bathroom and share their hopes and dreams for the house. Soon, however, we learn more about the couple and the house itself, as June plans for a dinner party to impress the new neighbors, and as they make an unsettling discovery in that same upstairs bathroom. Another important aspect of the show is that while Lurie and June are African-American, their new neighborhood is essentially all-white, and has been for generations. So at first, when a teenage white girl, Beatrice (Allison Winn), shows up at their door to introduce herself, it doesn’t seem that unusual to them. Soon, however, they find that Beatrice is not just another neighbor. She uses a lot of outdated–and even offensive–terminology, and drops pop culture references that are decades old. She also likes June’s homemade jam, quite a lot, and is frequently asking for glasses of milk and dance lessons. She also talks about her parents, and how strong an influence they have been on her even though she declares herself to be different. She’s also very attached to the house, and especially concerned about who lives there, even though she claims to like June and Lurie. What ensues is a struggle of sorts between the couple and Beatrice, and also between June and Lurie in their different attitudes toward the house, the neighborhood, events in their past, and initially Beatrice as well. Also figuring into the story is Lurie’s younger brother, Leroy (Ronald Emile), a plumber and family man who has a lot of things June says she wants, but not in the way that she has imagined or that she perceived society to expect. There’s a lot going on here, and a whole lot of it is metaphorical, in terms of what the house means, what Beatrice herself stands for, as well as Leroy’s standing in opposition to that, and the struggle that Lurie and to a larger degree June face in dealing with their own disappointments, hopes, and dreams. It all plays out in a highly personal, increasingly creepy tale that’s dominated by a dark, insidious atmosphere and the developing power struggle between Beatrice and June.

The themes, as noted in the supplemental materials in the program from playwright Greenidge, director Daniel Bryant, and the Rep’s Artistic Director Hana Sharif, deal very much with the insidiousness and pervasiveness of racism in American culture, and how it affects generations of people, black and white, in different ways. It’s all played out in a classic horror style, with acknowledged echoes of Hitchcock, as well as elements of several classic ghost stories and other familiar horror tropes. It’s all metaphor, but highly personal as well, with thought-provoking situations and characters that can–and should–provoke much thought, discussion, and awareness that can–and should–contribute to real, lasting change.

The structure is inventive, and the characters impressively portrayed, with the two performances of Chesley as the determined, grieving, increasingly focused June and Winn as the initially cheerful, but damaged and increasingly controlling Beatrice at the center of the production. These two performances are the highlight here, as the struggle between these two characters is the center of the drama. There are also impressive performances from James as the well-meaning but increasingly baffled Lurie, and Emile as the level-headed Leroy. The metaphors are evident everywhere, but the relationships are what drive the story as a story, and the top-notch performances make that drama accessible and real.

Technically, the show is remarkably impressive, pushing the established boundaries of what has been done in this space before. The thoroughly detailed set by Lawrence E. Moten III brings the antique house to life vividly, and the set-up, in which audiences enter the “house” through a long hallway and sit in creaky old kitchen chairs, adds to the overall atmosphere and chilling effect of the show. Jason Lynch’s evocative lighting adds to this effect as well, as does David Kelepha Samba’s sound design, the dance choreography by Heather Beal and fight choreography by Erik Kuhn, along with the well-suited costumes by Mika Eubanks.

Feeding Beatrice is in some ways what you might expect, but in a lot of other ways, it’s inventive and new. It’s also a striking exercise in how to make a thoroughly engaging character drama from a largely metaphorical basis. From its ominous first moment to its chilling final moments, this is a show that’s going to make you think, as it should. Although it does call to mind some similarly themed movies in recent years–such as Get Out and Us–this story’s origins are older than those films, and the recurring of such themes emphasizes their importance. It’s at timely, thoroughly well crafted play that makes a memorable impression at the Rep Studio. It’s definitely worth seeing, thinking about, and talking about.

 

Lorene Chesley, Allison Winn
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Feeding Beatrice in the Studio Theatre until November 17, 2019

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