Posts Tagged ‘stray dog theatre’

SDT’s Energetic “9 to 5” Highlights Nostalgia, Enthusiastic Cast

Posted in St Louis Theatre, tagged , , , , , , , , , on April 8, 2026| Leave a Comment »

9 to 5 the Musical
Music and Lyrics by Dolly Parton, Book by Patricia Resnick
Directed by Justin Been
Choreographed by Michelle Sauer and Sara Rae Womack
Stray Dog Theatre
April 4, 2026

Mara Bollini, Sarah Polizzi, Janelle Gilreath Owens and Cast
Photo: Stray Dog Theatre

I’m still not convinced 9 to 5 needed to be a musical. A hit comedy film from 1980 featuring the talents of Lily Tomlin, Jane Fonda, and Dolly Parton, the story was brought to the stage seemingly as a reason for the beloved Parton to write a musical score. And the score is probably the best part of 9 to 5 the musical, which also gets to serve as the showcase for its cast and especially the three leads, who are are notably excellent in Stray Dog Theatre’s latest production, directed by Justin Been. Still, the script doesn’t land quite the way the movie’s did (even though it’s written by the same author), although SDT’s cast and crew certainly try their best, and make for a crowd-pleasing production. 

I saw this show a few years ago, in a well-produced version from another local theatre company, and while I enjoyed it, for the most part, it didn’t make a strong case for why this show needs to exist in the first place. My thoughts about SDT’s production are along the same lines, although the cast and production values are certainly energetic and bring out much of the comedy of the piece. There are even featured video segments featuring Dolly Parton herself that add to the nostalgic air that seems to be the aim of the show now that its setting is almost 50 years in the past. There’s a vibrant production design featuring a colorful and versatile set by Rob Lippert, memorable costumes by Colleen Michelson and wigs by Sarah Gene Dowling, eye-catching lighting by Tyler Duenow and projections by Justin Been, energetic choreography by Michelle Sauer and Sara Rae Womack, and a fantastic band led by music director Mal Golden. Still, the overall impact of the show is different now, taking a lot of the “bite” out of the sharp satire from the film and playing out more as a “remember when” sort of story that majors on nostalgia, although the overall story majors on women who struggle to be taken seriously in the workplace and male co-workers who are largely sexist ogres, especially the boss, the selfish and scheming Franklin Hart (Joel Garrett Brown).

The story is mostly the same as the film, following three different women–longtime employee and management candidate Violet Newstead (Jennelle Gilreath Owens), “Backwoods Barbie” secretary and object of the boss’s lust Doralee Rhodes (Sarah Polizzi), and recent divorcee and workforce newbie Judy Bernly (Mara Bollini), who all have their various difficulties trying to succeed at their company, Consolidated. Among the obstacles is the obnoxious Hart along with his lovestruck assistant Roz (Laura Lee Kyro) and the general “boys club” office environment. There’s also an added love interest for Violet named Joe (Cole Guttman) who works in accounting and turns up from time to time, but isn’t given a lot to do. The plot essentially follows the film’s story, but with singing, dancing, and production numbers. 

The cast is strong, especially for the three leads. Owens projects the right degree of determination and competence as Violet, Bollini is especially adept at the comedy as the gutsy but green Judy, and Polizzi excels at playing a “Dolly Parton-type” without expressly imitating Parton. There’s also a memorable turn from Kyro as the lovesick Roz, who comes across as somewhat pathetic here, especially considering how sleazy Hart is, played with energy by Brown. There are fine turns by Josh Heffernan as Doralee’s devoted husband Dwayne and Gutmann making the most of an underwritten role as Joe. There’s also an enthusiastic ensemble who make the most of the energetically choreographed production numbers starting with the well-known title song. 

9 to 5 was a hit film, and the musical received mixed reviews on Broadway. It’s certainly a crowd-pleaser, and a showcase for Parton’s music and the well-cast three leads at Stray Dog Theatre. It has its fun moments, but it still doesn’t convince me that this movie needed to be a stage musical. Still the cast and crew make the most of this larger-than-life nostalgia fest. Especially if you’re a fan of the film, it’s worth checking out. 

Cast of 9 to 5 the Musical
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting 9 to 5 the Musical at Tower Grove Abbey until April 25, 2026

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Intrigue, Scheming, and Humor Meet in Twisty, Entertaining “Deathtrap” at SDT

Posted in St Louis Theatre, tagged , , , , , on February 10, 2026| Leave a Comment »

Deathtrap
by Ira Levin
Directed by Gary F. Bell
Stray Dog Theatre
February 5, 2026

Victor Mendez, Stephen Peirick, Anne Vega
Photo: Stray Dog Theatre

Deathtrap is a play about playwrights, about fast-developing twisty plots, and about murder. It was a smash hit on Broadway and was made into a movie. It has also become a staple of community and regional theatres everywhere. Now, it’s Stray Dog Theatre’s first show of 2026, bringing energy and a talented cast to the stage in a darkly comic, impeccably designed production directed by Gary F. Bell that entertains and keeps the audience guessing throughout its fairly long running time. 

The story begins as celebrated  crime thriller playwright Sidney Bruhl (Stephen Peirick) sits at his desk in his well-appointed converted-barn study, telling his wife Myra (Anne Vega) about a new play he’s been sent by an aspiring young playwright who had attended a workshop led by Sidney. The play, according to Sidney, is sure to be a hit, and Sidney–who hasn’t had a hit in a long time and is struggling to find inspiration for another–muses about the lengths he might go to regain his fame and reputation. He might even be tempted to kill for this new play, called Deathtrap. Of course he’s not serious, he tells the increasing nervous Myra. Or is he? Then, he invites the young man, Clifford Anderson (Victor Mendez) over to talk about the play, starting a series of twists and turns that steers the plot into a variety of surprising directions, also involving a psychic neighbor, Helga ten Dorp (Liz Mischel), and Sidney’s lawyer, Porter Milgrim. It’s a witty script cleverly constructed to be sharply self-referential, following these sharply drawn characters in all sorts of intricately plotted directions.

The cast here is game for the challenge of this long, heavily plotted and occasionally physically demanding story. Peirick is convincing as the sharp-tongued Sidney, even with his somewhat odd accent. Peirick brings an energetic physicality to his role and displays a believable, occasionally combative connection with both Mendez’s determined, ambitious Clifford and Vega’s anxious Myra. Wassilak lends solid support as lawyer Porter, and Mischel makes the most of the quirky, scene-stealing role of Helga, commanding attention whenever she appears. All of the players work well with one another and handle the plot intricacies with alacrity, conveying the conniving energy and wit that the plot requires, even though the pacing could be a little sharper at times, and the play’s long running time becomes apparent especially in the middle of Act 2.

Another star of this production is Rob Lippert’s marvelous set, with all its excellent attention to detail and working especially well in establishing the setting, as well as reflecting Sidney’s personality and profession so clearly. Gary F. Bell’s costumes suit the characters well while also affectively evoking the time and place. There’s also excellent mood-setting work from sound designer Justin Been and lighting designer Tyler Duenow, adding much to the overall suspenseful and darkly comic tone of the proceedings. 

Overall, while it could tighten up the pacing a bit in places, Deathtrap‘s strong cast and production values make this show work. It’s funny, surprising, and thrilling at turns, and sometimes all at once. It’s a memorable effort to start of the new year at Stray Dog Theatre.

Liz Mischel, David Wassilak
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Deathtrap at Tower Grove Abbey until February 21, 2026

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Stellar Cast Flies High in SDT’s Poignant, Visually Impressive “Superhero”

Posted in St Louis Theatre, tagged , , , , , , , , on December 11, 2025| Leave a Comment »

Superhero
Music and Lyrics by Tom Kitt, Book by John Logan
Directed by Justin Been
Choreographed by Sara Rae Womack
Stray Dog Theatre
December 4, 2025

Jabari Boykin
Photo: Stray Dog Theatre

Superhero is a musical by celebrated composer Tom Kitt and playwright John Logan that played a short Off-Broadway run in 2019. Now, Stray Dog Theatre is taking this lesser-known show and giving it an entertaining staging at its Tower Grove Abbey venue that seems just the right size for this small-but-memorable show about relationships, love, loss, and superpowers. Although the show itself isn’t perfect, under the direction of Justin Been and featuring a terrific cast and impressive effects, it’s flying high and packing a strong emotional punch.

The story follows teenage aspiring comic artist Simon (Jabari Boykin) and his mother, college English professor Charlotte (Sarah Gene Dowling), who are both still dealing in their own ways with grief two years after the death of husband-and-father Mitch in a tragic accident. Living in a city apartment that they moved to after the accident, Simon is still struggling to find his place at his school and in the neighborhood, and spends much of his time drawing and writing comic book stories–a love of which he shared with his late father. Meanwhile, Charlotte is dealing with career struggles as well as a new flirtation with mysterious neighbor Jim (Aaron Fischer), who Simon suspects of being more than a simple bus driver. Simon is clearly wanting a father figure, as well, and encourages the relationship between Charlotte and Jim, even though both adults have their reservations despite their mutual attraction.  He also has a crush on classmate Vee (Lindsey Grojean), agreeing to work with her on a project for school. As the story goes on, secrets are revealed, relationships are challenged, and grief is explored as the tale builds to a dramatic, ultimately poignant conclusion.

The story itself is intriguing, and the cast is first-rate, but the structure has some issues, especially in that the tension takes a little too long to come to a peak, to the point where it seems like there’s almost too much drama all at once, with not much time to come down to earth and reflect on the lessons learned. 

Still, the characters are engaging, especially as led here by the impressively talented young Boykin and SDT veteran Dowling, who are both fantastic and believable as a mother-son pair. Both have strong voices as well, and carry much of the dramatic weight with strong, believable portrayals. Fischer is also strong as the conflicted, mysterious Jim, who has memorable moments with both Charlotte and Simon. Grojean as Vee is also likable and memorable, and there’s a strong turn from Todd Garten as sympathetic landlord Vic, with good support from Justin Bouckaert, Kevin Hester, and Maggie Nold in smaller roles. The score has echoes of Kitt’s well-known other work, Next to Normal, as well as a bit of an homage to John Williams’s iconic Superman film score, and a few standout songs well-sung by the excellent cast.

The visual world of this production is achieved with expert creativity and flair by means of Rob Lippert’s multi-level life-meets-comic-book set and Justin Been’s truly stunning projections that are enhanced by Tyler Duenow’s lighting to achieve a more comic book look at key moments. The special effects are out of this world, as well, and Colleen Michelson’s costumes suit the characters well and fit perfectly into the well-realized world of the show. There’s also an excellent band led by music director/keyboardist Mallory Golden.

Superhero is, for the most part, a thoroughly absorbing musical and emotional adventure. Its especially strong cast is a particular highlight. For comic book fans, or for anyone interested in checking out a newer show that you may not have heard of, this is an excellent opportunity. 

Sarah Gene Dowling, Aaron Fischer
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Superhero at Tower Grove Abbey until December 20, 2025

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“The Minutes” At SDT is Chilling, Timely, Darkly Comic Look at Politics, Authority, and the Meaning of History

Posted in St Louis Theatre, tagged , , , , , on October 3, 2025| Leave a Comment »

The Minutes
by Tracy Letts
Directed by Justin Been
Stray Dog Theatre
October 1, 2025

Tawaine Noah, Nick Freed, John Reidy, Gerry Love
Photo: Stray Dog Theatre

Tracy Letts’s The Minutes is a dark comedy that gets darker minute by minute. The Pulitzer-nominated show is an incisive, even brutal critique of small-town American politics that has a lot to say for today’s audiences, especially concerning the concepts of history, tradition, and the pressure to tow the “official” line. At Stray Dog Theatre, this play has been brought to the stage under the direction of Justin Been, featuring a fantastic cast and pacing that works to tell the story in an unrelenting and riveting fashion.

The “world” of this play is fully realized onstage at SDT’s Tower Grove Abbey through means of Been’s painstakingly realistic set, bringing a small-town council chamber to life with meticulous detail. At first, I’m reminded a bit of the modern classic sitcom Parks and Recreation, which also lampoons the minutiae and particularity of small town politics, but Letts’s take in this play is a lot darker, and even–dare I say–meaner. It starts out as something familiar, and anyone who has been in a council or board meeting of any kind will find some issues with which to relate, but there’s more going on here at a City Council meeting for the town of Big Cherry. The people are familiar “types”, as well, and a degree of secrecy from the start, but the evasiveness of these seemingly harmless bureaucrats has a deeper, much more unsettling purpose that unfolds as the story plays out. I don’t want to spoil much, but I will say that it’s especially timely considering a lot of events and discussions going on in our country right now, especially considering the purpose of history, and who gets to decide what the “official story” is.

The story follows newest council member Mr. Peel (Nick Freed) as he arrives for his first meeting as a member, having missed the previous week’s meeting due to a death in the family. As Peel shows up on a stormy night in Big Cherry and the rest of the council members begin to assemble along with clerk Ms. Johnson (Rachel Hanks), Peel is made aware early on that things aren’t as he expected. Most notably, one council member that Peel seems to have been already acquainted with, Mr. Carp (Stephen Peirick), is missing, and Peel is soon told that Carp is no longer a member of the council. It’s also made relatively clear that there was a disagreement of some sort at the prior meeting, although Mayor Superba (Gerry Love) and the rest of the board are insistently evasive about what happened, even going so far as to seemingly suppress the minutes from that meeting, saying they’re not “ready” to be reviewed yet. The meeting then progresses with various topics and arguments over issues of an accessible fountain in a prominent park championed by Mr. Hanratty (Patrick Canute), Mr. Blake’s (Tawaine Noah) insistence on promoting his unconventional crowd-drawing idea for the upcoming (and revered) Big Cherry Heritage Festival. There’s also an ongoing issue of what do with some confiscated bicycles–an issue that was apparently important to Mr. Carp, as well as the evasive and increasingly aggressive Mr. Assalone (Jonathan Hey), who had apparently clashed with Carp. 

Gradually, the issue of the previous meeting keeps being brought up, as does the town’s devotion to its celebrated Heritage Festival and the folkloric story behind it, involving a locally famous 18th Century “battle”, a seemingly heroic Army sergeant, and a clash with a local Native American tribe. As the meeting goes on, the issues get more and more personal and the truth of the previous meeting is finally revealed, uncovering issues that challenge the very soul of the town and the council members, and their vision of the past and how that shapes their goals for the town and hopes for the future. It also presents a dilemma for Peel, who is essentially the stand-in for the audience. 

The script is at turns humorous, witty, sharp, challenging, and has occasional forays into sheer horror, especially at the end, in a change of tone that, while effective, strikes me as a bit “too much”, to the point of potentially distracting from the point the show is trying to make. Still, it’s all acted and staged remarkably well, with riveting performances from all involved, especially standouts Freed as initially idealistic newbie Peel, Peirick as  the passionate, insistent Carp, Hey as the increasingly shady Assalone, Love as the initially affable but somewhat cryptic Mayor, and Hanks as Ms. Johnson, whose sing-song voice and insistently upbeat tone seems to battle with an also obvious sense of resignation. There are also strong performances from the rest of the ensemble, including the aforementioned Reidy, Canute, and Noah, along with Jan Niehoff as the forgetful Ms. Matz, Will Shaw as the board’s senior Member, Mr. Oldfield, and Lavonne Byers as the second most-senior member, Ms. Innes. The interplay and energy between the performers lends a lot to the sense of tension, along with with the humor, drama, and unfolding suspense. 

The excellent set also works as something of a character in the show, aided by fantastically tuned lighting and sound effects by Tyler Duenow and Been, respectively. There’s also a chillingly effective use of music to underscore the action. Colleen Michelson’s costumes are also memorable, crafted with detail to fit the personalities and quirks of the individual characters while also fitting in with the overall “small town” vibe. 

The message of The Minutes is profound and important while also being surprisingly of-the-moment. Small-town politics as well as overall attitudes toward authority and the meaning of history and controlling narratives, are all effectively brought up here in an increasingly brutal satirical manner. There’s a lot to think and talk about here, and SDT has brought this story to the stage with energy, emotion, and theatrical expertise. 

Cast of The Minutes
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting The Minutes at Tower Grove Abbey until October 18, 2025

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SDT’s Evocative “Second Hurricane” Highlights Young Talent, Memorable Score

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

The Second Hurricane
Composed by Aaron Copland
Libretto by Edwin Denby
Directed by Gary F. Bell
Stray Dog Theatre
August 15, 2025

Cast of The Second Hurricane
Photo: Stray Dog Theatre

Stray Dog Theatre is venturing into a new artistic area with their latest production, Aaron Copland’s 1937 youth opera The Second Hurricane. Featuring simple but striking staging, excellent vocals, and a promising cast of talented young performers, it’s an intriguing and musically impressive production that highlights its cast and Copland’s score. It’s also something of a trip back in time, considering how its tone and sense of theming effectively evoke the era in which the work is set.

This was well-known composer Copland’s first venture into opera, and it was intended as a youth show, that I could easily imagine being done by high school choir groups. The show features a youth chorus and an adult chorus, with some spoken parts but mostly focusing on the music. The story follows a Midwest community in the 1930s after a devastating tornado. When a pilot arrives at a local high school trying to recruit volunteers to help distribute supplies to those affected by the catastrophe, an assertive girl named Gwen (Bryn Sentnor) steps up and volunteers, and soon five more are recruited to join her–Butch (Soren Carroll), brothers Fat (Wesley Balsamo) and Gyp (Ben Hammock), radio enthusiast Lowrie (Jabari Boykin), and Queenie (Nadja Kapetanovich). The six are dropped off at an area of high ground near the affected area, and then find themselves stranded when another hurricane strikes. They group of six also has grown to seven, since they are joined by Jeff (Cece Mohr), a younger boy who lives nearby. The rest of the show follows the group’s “adventure” as they struggle to survive and form a bond as a result of their shared struggle.

The choruses serve the purpose of narrating the action as well as carrying the soaring notes of the melodic score. There are also strong vocal turns from all of the featured young performers, and everyone is excellent. It’s an ideal showcase for this group of talented and highly promising young singers. The acting is good, but there isn’t much in the way of dialogue, and I also found myself occasionally wishing for supertitles–as local opera companies are known to use–because it’s not always easy to understand the lyrics. Still, it’s a compelling story and a strong, memorable score, lushly played by a superb orchestra led by music director John Gerdes.

Another especially notable aspect of this production is its lighting and costumes. The set by director Gary F. Bell is simple but all that is necessary, as much of the atmosphere is achieved by means of music and by Tyler Duenow’s stunning lighting. There are also excellent period-accurate costumes by Colleen Michelson that add to the overall ambience and 1930’s vibe. 

This is a very 1930’s show, but its message is also a timeless one, of community and working together in a crisis, as well as the focus on young people as hope for the future. It’s a stirring theme for Depression-era audiences as well as today. It’s a fine new venture for Stray Dog Theatre. 

Jabari Boykin, Soren Carroll, Bryn Sentnor, Wesley Balsamo, Ben Hammock
Photo: Stray Dog Theater

Stray Dog Theatre is presenting The Second Hurricane until August 30, 2025

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SDT’s Well-Cast “Frankie and Johnny” is a Gritty, Emotional Character Study

Posted in St Louis Theatre, tagged , , , , , on June 17, 2025| Leave a Comment »

Frankie and Johnny in the Clair De Lune
by Terrence McNally
Directed by Gary F. Bell
Stray Dog Theatre
June 14, 2025

Stephen Peirick, Mara Bollini
Photo by Sarah Gene Dowling
Stray Dog Theatre

“Love is messy and beautiful.” That’s a tagline for the show that’s featured on the marquee outside Stray Dog Theatre’s Tower Grove Abbey performance space for their latest production, Terrence McNally’s Frankie and Johnny in the Clair de Lune. SDT always posts a memorable saying, line or quote related to their current production on that signboard, and this one is particularly appropriate, considering the quality of McNally’s script and the staging by director Gary F. Bell featuring two talented local performers.

The “Clair de Lune” in the title refers to a famous Debussy piano piece as well as the literal moonlight to which the characters refer throughout the story. As also mentioned in the title, the story follows Frankie (Mara Bollini) and Johnny (Stephen Peirick), who work together in a New York City diner–she’s a waitress and he’s the new cook. We meet them at her apartment following their first sexual encounter, following a dinner-and-a-movie date, and the early suggestions are that this is intended to be the start of something more serious. Or is it? The problem here is that, while Frankie and Johnny are obviously attracted to one another, they are very different in personality and attitudes toward life, and both have suffered various disappointments and personal struggles over the years, as their conversation soon reveals. Both characters have their obvious flaws, but there’s also an undeniable pull toward one another that becomes more clear as they share their stories, even though Johnny is prone to oversharing and Frankie is guarded and hesitant. It’s a fascinating look at an unfolding “will-they-or-won’t they” connection that can either be left as a one night stand or be developed into something more. Also, despite the obvious character flaws, and how easy it would be to make Johnny look like a predatory creep, McNally makes a concerted effort to not go there with the character.

The casting and direction is key, as well, since the characters have to be watchable and to some degree relatable for a story like this to work. It’s a delicate balance of conversation, chemistry, and attempted empathy, as two hurting people reach out to one another and try to figure out if they can work as a couple. Peirick’s talkative Johnny comes across as sincerely well-meaning, for the most part, if a bit on the oversharing side. He’s effusive in the romantic language, and the also excellent Bollini’s clearly guarded Frankie displays a mixture of annoyance, curiosity, and fascination with this guy who isn’t what she first thought he would be. These are relatable, highly personal portrayals, and both performers excel, individually and as a pair. Director Bell’s thoughtful staging manages to both be frank and respectful to the characters as genuine, flawed humans searching for a real connection.

The set by Bell is an appropriately detailed representation of a small New York apartment, with a credibly “lived-in” vibe. Tyler Duenow’s lighting adds much in the way of atmosphere to the proceedings and late-night setting, with also excellent work from Justin Been on sound design, as the music and radio are important elements of the story, and the clarity of the dialogue is also essential. Bell’s costume design also works well for the characters, even though they (and especially Johnny) don’t wear a lot of clothes throughout the show.

Frankie and Johnny in the Clair de Lune is an intense, intimate, highly personal  look at a couple struggling with past regrets and clinging to the possibility of finding something good together. It’s definitely for mature audiences, as there is frank discussion of sex and intense subject matter, strong language, and sexual situations. It’s a thoughtfully scripted, well directed  character study, showcasing two especially strong lead performances by excellent local performers.

Stephen Peirick,, Mara Bollini
Photo by Sarah Gene Dowling
Stray Dog Theatre

Stray Dog Theatre is presenting Frankie and Johnny in the Clair De Lune at the Tower Grove Abbey until June 21, 2025

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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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SDT Focuses on Empathy, Kindness in Ideally Cast “Curious Savage”

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

The Curious Savage
by John Patrick
Directed by Gary F. Bell
Stray Dog Theatre
February 6, 2025

Tyson Cole, Liz Mischel, Gansner, Lindsey Grojean
Photo by John Lamb
Stray Dog Theatre

The Curious Savage may have flopped on Broadway when it debuted in 1950, but it’s had a vibrant life as a staple of regional, community, and school theatre in the decades since. Now, Stray Dog Theatre and director Gary F. Bell have brought John Patrick’s quirky, characterful comedy to their Tower Grove Abbey stage with wit, energy, and a first-rate cast that emphasize the show’s themes of kindness, compassion, and empathy in the midst of misunderstanding and greed in the outside world. In some ways, it’s a look at life in the past, but its message is timeless and engagingly compelling.

The story follows Ethel P. Savage (Liz Mischel), an eccentric widow and sometime actress who wants nothing more than to use her late husband’s fortune, that she has inherited, to give away and help people achieve their dreams. Unfortunately, her greedy adult stepchildren have other ideas and have Ethel committed to a private sanitarium, The Cloisters, as a way of trying to get the money from her. The establishment, headed up by the kindly Dr. Emmett (David Wassilak), assisted by capable nurse Miss Willie (Claire Coffey), is home to a quirky collection of residents who welcome Ethel with open arms. The contrast between the self-centered stepchildren and the patients at The Cloisters becomes clear as the stepchildren–stuffy senator Titus (Matt Anderson), much-married socialite Lily Belle (Sarajane Clark), and smarmy judge Samuel (Joseph Garner)–seem only out for their own interests, while the patients care about Ethel even in the midst of their own struggles. The story that unfolds is humorous and madcap on one level, but also serves as an object lesson in compassion and empathy.

The ensemble chemistry is essential here, with the truly terrific Mischel as Ethel leading a superb cast that works together especially well, displaying the strong bond that develops between Ethel and the patients in a credible “us vs. them” dynamic. Everyone has an important role, from Anne Vega’s motherly Florence, to displaced statistician Hannibal (Gansner), as well as the semi-silent and disgruntled Mrs. Paddy (Camille Fensterman); the childlike  Fairy May (Lindsey Grojean); to insecure war veteran Jeffrey (Tyson Cole), who suffers from survivor’s guilt and memory loss. Everyone is ideal for their role, with Grojean a particular standout in an energetic, vulnerable performance that reminds me in ways of Gilda Radner. There’s also excellent work from Wassilak as the even-tempered and kind Dr. Emmett, and Coffey as the caring Miss Willie, who has her own personal reasons to be there that will be revealed as the story goes on. As the greedy stepchildren, Anderson, Clark, and Garner make for a hilarious and pitiful trio, serving as a striking contrast to the gentler, more genuinely caring patients at the Cloisters.

The look and mood of this production are well maintained through director Bell’s excellent pacing and well-decorated set, aided by Colleen Michelson’s detailed period styled costumes. There’s also memorable work from sound designer Justin Been, with the use of music working especially well with the action. Tyler Duenow’s lighting is also proficient in helping to achieve and support the overall whimsical tone of the show.

Stray Dog Theatre is having excellent success lately with shows from the 1950’s, after closing out 2024 with a fun production of Bell, Book & Candle. The Curious Savage is in a similar vein as that show, but with more of an insightful, compassionate edge and a message that’s still as relevant today as it was 70 years ago. It’s also a remarkable showcase for a well-chosen and energetic cast. It’s a great way to start off the new year at SDT.

Cast of The Curious Savage
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting The Curious Savage at Tower Grove Abbey until February 22, 2025

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“Bell, Book & Candle” Casts a Lively Spell at Stray Dog Theatre

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

Bell, Book & Candle
by John Van Druten
Directed by Gary F. Bell
Stray Dog Theatre
December 5, 2024

Claire Coffey, Liz Mischel
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is offering another offbeat show for the holidays, closing out their 2024 season with John Van Druten’s classic supernatural rom-com Bell, Book & Candle. A story about a New York City witch who falls in love with an “ordinary” guy, this play was an acknowledged influence on the hit TV show Bewitched, and this show has some of that whimsical tone that viewers of that sitcom might recognize, although there are several obvious differences. Here on stage at Tower Grove Abbey, director Gary F. Bell has made some clever choices in staging, as well as featuring a strong cast and well-orchestrated production values, making for a lively, often hilarious staging.

In the first act, we are introduced to Gillian Holroyd (Claire Coffey), an elegant, sophisticated witch who manages a New York City apartment building. Her mischievous Aunt Queenie (Liz Mischel), also a witch, also lives in the building and has been causing trouble for their neighbor, young publisher Shepherd Henderson (Joel Wilper). Gillian finds Shep attractive, and contemplates a romantic adventure, but it’s not supposed to be serious because witches aren’t supposed to fall in love. Gillian promises to introduce Shep to a popular writer, Sidney Redlitch (Gary Wells), who writes about magical happenings but doesn’t seem to understand what’s really going on, and Gillian’s troublemaking brother, Nicky (Victor Mendez) soon becomes involved, teasing Gillian about Shep and promising to “help” Redlitch with his book. Shenanigans ensue, of course, but Gillian soon finds more than she bargained for, as she grows closer to Shep and more at odds with her friends and relatives in her secretive community. There’s a lot in the way of mixed motives, whimsical pranks, and unexpected reactions as the disparate characters become involved in hilarious clashes, schemes, misunderstandings, and surprises, with Gillian herself getting perhaps the biggest surprise of all.

The tone here is whimsical and upbeat, for the most part, with an arch upper-class 1950’s tone that works well with the story, accentuated by impressive Mid-Atlantic accents from most of the cast. The costumes, lighting, set, and sound are all used in creative ways to enhance character development and story. Bell’s marvelously detailed set, with scenic painting by Jude Hagene, adds much in the way of atmosphere and Mid-Century New York sophistication with an air of quirkiness and mystery. There’s also excellent lighting by Tyler Duenow and sound  design by Justin Been that add to the overall atmosphere, and the costumes by Colleen Michelson are a work of art in themselves, from Aunt Queenie’s and Nicky’s more colorful, whimsical attire to Shep’s more toned-down but also stylish outfits, to Redlitch’s rumpled look, and especially the succession of ensembles worn by Gillian that change in tone, color and style over the course of the play reflecting changes in her character and situation. It’s an impressive technical effort that adds to the overall emotion and whimsicality of the show.

The cast is excellent, with all the performers well-chosen for their roles. Coffey as Gillian has the most character development, and she plays the changes well, from confident, sophisticated, and worldly, to somewhat bewildered. Her growing relationship with Wilper’s goofily charming Shep is thoroughly believable. There’s also excellent support from Mischel as the sweetly wacky Aunt Queenie, Mendez as the mischievous Nicky, and Wells as the rumpled, eager but somewhat clueless Redlitch. There’s also a memorable feline performance from Agatha Coffey as Gillian’s magical cat, Pyewacket. The energy levels are lively, the pacing is spirited, and the tone is an appropriate blend of goofy comedy and mid-century sophistication and quirkiness. 

I hadn’t seen this play before, although I had heard of it, and I’m glad SDT’s version has been my introduction to this wacky, occasionally risqué, and ultimately sweetly romantic story. The “witchcraft” in the story often serves as a metaphor for any kind of offbeat or artistic nature or way of living, and there is a bit of a conformity message that may register differently with modern viewers than it would have in the 1950’s, however. Still, it’s a fun show, with a great cast, and a whimsical “holiday” show for Stray Dog Theatre.

Victor Mendez, Claire Coffey, Gary WElls, Joel Wilper
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Bell, Book & Candle at the Tower Grove Abbey until December 21, 2024

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“Nevermore” is a Well-Sung, Fascinating Musical Thriller at SDT

Posted in St Louis Theatre, tagged , , , , , , , , on October 16, 2024| Leave a Comment »

Nevermore: The Imaginary Life and Mysterious Death of Edgard Allan Poe
Written and Composed by Jonathan Christenson
Directed by Justin Been
Choreographed by Maggie Nold
Stray Dog Theatre
October 10, 2024

Drew Mizell (center) and Cast
Photo by John Lamb
Stray Dog Theatre

It’s October, and it’s common for theatre companies to do a “spooky” show in keeping with Halloween. Stray Dog is getting in the spirit of the season with a fascinating, well-staged bio-musical about famed 19th Century writer Edgar Allan Poe, who is best known for the dark subject matter of some of his poems and stories. It’s a small cast show with most cast members playing several roles, and it has a pre-recorded soundtrack backing the singers, but what shines forth in this production especially is the high quality of the singing, as well as the look and overall dark and mysterious tone of the show.

The story is told largely in flashback, as the famous writer Poe (Drew Mizell) is traveling on a train and meets a troupe of actors who recognize him and start acting out his story. The group of six players (Michael Cox, Heather Fehl, Stephen Henley, Kevin O’Brien, Dawn Schmid, and Sara Rae Womack) join in telling Poe’s story, which each of the performers playing several roles. The story follows Poe from his childhood with his parents–who are also performers–and his siblings Henry and Rosalie. As he gets older, he and his siblings are orphaned and sent to live with different families, with Edgar staying with Jock and Fanny Allan, who influence his life in various ways. In young adulthood, Edgar becomes involved with kindred spirit Elmira, who likes his dark and creepy stories and has some of her own, but her parents don’t approve and encourage her to marry into a “better” family. The story then follows the ups and downs of Edgar’s career as a writer, as well as personal struggles with substance abuse, along with his marriage to his young cousin Virginia “Sissy” Clemm. The important biographical points are covered, if sometimes out of order, with the ominous and mysterious tone being kept up throughout, leading up to some surprising revelations and an emotional ending.

The score is pervasive and memorable, with a pre-recorded soundtrack (which was apparently required to be used), which works reasonably well even though I don’t prefer them. The music utilizes the ranges of the singers well, especially the fantastic Mizell’s crystal clear higher range. Mizell has loads of presence as Poe, with a stunning voice and impressive emotional range. The entire cast is strong, as well, with the supporting players handling their multiple roles well. Particular standouts include Schmid as the kind but troubled Fanny Allan and as the devoted Sissy; Womack as the delightfully quirky Elmira; and Henley as Poe’s  optimistic and loyal older brother Henry. Everyone has excellent moments, and the ensemble singing is marvelous.

The show looks great, with an ominous tone maintained by a purple-and-black color palette and a clever multi-level set by director Justin Been. Sarah Gene Dowling’s costumes are also a highlight, with impressive detail and style. The lighting by Tyler Duenow dazzles, emphasizing the shadows and changing moods in the story, and there’s also good work from sound designers Been and Wade Staples–although it was somewhat difficult to hear the singers at the beginning–as well as music director Jennifer Buchheit.

Nevermore is an ideal show for the Halloween season, especially for fans of Gothic horror and mystery, and Poe in particular.  Bolstered by a top-notch leading performance and an excellent ensemble, this is a show that’s both entertaining and appropriately unsettling. It’s an educational experience, as well, and a thoroughly memorable production.

Cast of Nevermore
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe at the Tower Grove Abbey until November 2, 2024

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