Posts Tagged ‘terrence mcnally’

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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Tesseract Enchants with Poignant, Well-Sung “Anastasia”

Posted in St Louis Theatre, tagged , , , , , , , , , , , on November 15, 2024| Leave a Comment »

Anastasia the Musical
Book by Terrence McNally
Music and Lyrics by Stephen Flaherty and Lynn Ahrens
From the Play by Marcelle Maurette as Adapted by Guy Bolton
Directed by Brittanie Gunn
Choreographed by Michelle Sauer
Tesseract Theatre Company
November 14, 2024

Sarah Wilkinson, Aaron Fischer
Photo by FF
Tesseract Theatre Company

Tesseract Theatre Company has become especially ambitious lately, staging more musicals, and generally “bigger” shows than ever before. Their latest production, Anastasia the Musical, continues this trend, but also manages to “shrink” the show to an almost intimate production that focuses largely on character and singing, but also features production choices that make the most of the small-ish theatre space at the Marcelle and their more limited resources appear more as an asset than a limitation. With smart direction, energetic choreography, a consistent artistic vision, and a great cast, this is more proof that Tesseract is living up to its ambitions.

The show is essentially based on the animated film from 1997, but also from the previous non-musical stage version by Marcelle Maurette, which formed the basis for the 1956 film starring Ingrid Bergman. Much of the film score is here, including perhaps its most well-known song, “Journey to the Past”, but thankfully the story has been modified to bring it a little more “down to Earth” and removing the zombie-like Rasputin as the villain and having a much less cartoonish antagonist in Gleb (Donald Kidd), a Bolshevik official who has reasons of his own to oppose the scheme of the enterprising Dmitry (Aaron Fischer) and Vlad (Kent Coffel) to pass off young amnesiac street sweeper Anya (Sarah Wilkinson) as the Grand Duchess Anastasia, who is rumored to have survived the assassination of the rest of her family. For those three, however, things get complicated as what starts out as a scam develops into burgeoning feelings between Anya and Dmitry, and Anya starts recovering memories that suggest maybe she really is the long-lost Grand Duchess. Also, Anastasia’s grandmother, the Dowager Empress (Margery A. Handy) waits in Paris and has grown weary of the long line of imposters who have written her letters claiming to be her granddaughter. Vlad, who used to be a member of the Romanovs’ court, has a former romantic connection with the Dowager’s lady-in-waiting, the Countess Lily (Kimmie Kidd), and he and Dmitry hope they can use her influence to get Anya seen by the Dowager. Meanwhile, Gleb is still on their trail, and Anya isn’t sure what’s going to happen when and if she does regain her memories.

As an animated film, and as a show produced on Broadway, this was a grand, sweeping, relatively large cast story. Here, on stage at the Marcelle, it’s a thoughtfully staged smaller cast show that still manages to keep a sense of scale despite space and cast-size limitations. Kudos to director Brittanie Gunn for the character-focused staging, choreographer Michelle Sauer for energetic and memorable dancing and movement, and the band led by music director Zach Newman for emphasizing the lushness of the score, even though there are moments when the music can overpower the singers, although that seems to be a regular issue with this venue. There’s also well-realized set design by Todd Schaefer that evokes early 20th Century Russia and Paris in an elegant way, augmented by Kevin Bowman’s atmospheric lighting and Sarah Gene Dowling’s detailed, period-specific costumes.

The cast is excellent, and the singing is exceptional from everyone involved. In addition to the remarkable performance of Wilkinson as a thoroughly believable Anya, there’s also a strong turn from Fischer as the initially scheming but gradually won over Dmitry. The scenes between these two are a highlight, as are all of the moments with Coffel as the charmingly enterprising Vlad and Kimmie Kidd as the stylish Lily. Donald Kidd is effective and in strong voice as the conflicted Gleb, and Handy is also strong as the grieving Dowager Countess. The entire ensemble is impressive, with the rest of the players filling a variety of roles as needed. Tiélere Cheatem, Scott Degitz-Fries, Ella Drake, Danielle Feinstein, Julia Gilbert Gaglio, Lindsey Grojean, Jaelyn Hawkins, Stephanie Merritt, Jacob Schmidt, and Kelvin Urday all deserve credit for their versatile, energetic performances and excellent singing, with some memorable ensemble numbers including “Stay, I Pray You”–featuring Cheatem in a poignant solo–as well as the lively “Paris Holds the Key” and more. The music here is a special highlight of this production, with lush harmonies and strong, clear vocals.

Anastasia the Musical is another excellent musical offering from Tesseract Theatre Company. You may know the animated film, but this show takes that story and brings it a degree of depth and poignancy that I haven’t seen in previous versions of this story. It’s a story of determination, discovery, and hope, well-staged by this excellent cast and creative team.

Cast of Anastasia the Musical
Photo by FF
Tesseract Theatre Company

The Tesseract Theatre Company is presenting Anastasia the Musical at the Marcelle Theatre until November 24, 2024

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Impeccably Staged “Ragtime” Impresses at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on October 1, 2024| Leave a Comment »

Ragtime
Book by Terrence McNally, Music by Stephen Flaherty, Lyrics by Lynn Ahrens
Directed by Deidre Goodwin
Choreographed by Michelle Potterf
STAGES St. Louis
September 25, 2024

Cast of Ragtime
Photo by Phillip Hamer Photography
STAGES St. Louis

Ragtime is a big, intense show, with historical significance and a profound, timeless message. I’ve seen three productions of the show now, all in St. Louis, with the latest being the truly superb production currently running at STAGES St. Louis. It’s a show that’s sweeping in scope, with thoughtful staging and strong performances that lend a personal element to the story, and the production values are simply stunning.

Based on a novel by E. L. Doctorow that was previously adapted for film in 1981, Ragtime has a lot of characters and a complex, interwoven plot involving three groups in Turn-of-the-2oth-Century New York and beyond. First, there are the affluent white residents of New Rochelle, represented by Mother (Marissa McGowan), Father (Dan Fenaughty), Mother’s Younger Brother (Matthew Cox), Grandfather (Whit Reichart), and the Little Boy (Kyle Holmes), who live a privileged existence outside the hustle and bustle of New York City, where the Black residents of Harlem live and work, including ragtime musician Coalhouse Walker, Jr. (Tamar Greene); and where immigrants from Eastern Europe and elsewhere arrive daily, including Tateh (Brian Golub) and his daughter, the Little Girl (Zoe Klevorn). These characters’ lives start out separately but soon become entangled, as Coalhouse’s estranged girlfriend Sarah (Shereen Pimentel) and their infant son are taken in by Mother while Father is away on an expedition, and Tateh and the Little Girl briefly meet Mother and the Little Boy while heading to Boston from New York in search of a better life. Also, Coalhouse, who has been looking for Sarah, makes frequent trips to New Rochelle in his brand new Model T Ford car to woo her back, riling up racist fire chief Willie Conklin and his cronies (Scott Moreau) in the process, which eventually leads to tragedy and life-changing situations for all involved.

In the midst of the fictional stories, real historic figures such as Harry Houdini (Jonathan Cobrda), Evelyn Nesbit (Sarah Ellis), Emma Goldman (Elora Von Rosch), Booker T. Washington (Omega Jones), Henry Ford (Steve Isom), J.P. Morgan (John Flack) and others figure into the story, interacting with the main characters while also serving as representatives of the ideals and values of the times. It’s a sweeping, heavily plotted story but all the threads are fit together well, and the score by Stephen Flaherty and Lynn Ahrens is powerful, influenced by the sounds of the times including vaudeville and, obviously, ragtime. The band here, led by music director E. Reneé Gamez, is excellent, filling the stage with that marvelous score and supporting the actors’ excellent vocals well.

The cast is remarkable, and the most well-rounded I’ve seen in a production of this show, even though both previous productions I have seen were excellent. STAGES has taken this show to the next level, with a well-measured staging that emphasizes the emotion and scope while especially highlighting character and personal connection, and the stellar cast is a large part of why this staging works so well. From what I’ve seen before, the stories of Coalhouse and Sarah, and Mother’s journey of discovery have tended to overshadow Tateh’s story to a degree. Here, all three main stories seem to be given equal weight, with dynamic turns from Greene in a powerful portrayal of the increasingly determined Coalhouse, McGowan in a thoughtful and vocally impressive performance as Mother, and Golub shining as the enterprising and charming Tateh, who displays credible chemistry with McGowan. in his developing friendship with Mother. Pimentel is also remarkable as Sarah, making the most of her moments with Greene’s Coalhouse. Other standouts include Cox as the initially aimless Younger Brother, Von Rosch as the activist firebrand Goldman, Ellis as the perky starlet Nesbit, and Reichert in a fun, mostly comic turn as the curmudgeonly Grandfather. The child performers, Holmes and Klevorn, are also impressive, more than holding their own with the adult members of the cast. It’s a strong ensemble all around, with strong voices and vivid characterization, contributing much credibility and weight to this story.

This is a fantastic looking show, as well, with a vivid, dynamic set by Robert Mark Morgan that utilizes moving set pieces to excellent effect. There are also exquisitely designed costumes by Brad Musgrove that add to the visual interest of the story as well as the period setting and tone. Sean M. Savoie’s lighting is also dazzling, in keeping with the broad scope and epic tone of the story that’s being told. The sound mixing was a little uneven on the night I saw the show, with some characters being difficult to hear at times, but this did improve in the second act, and I hope it continues to improve as the show’s run continues.

This is, to put it simply, the best production of Ragtime I have seen. If you love this show, you won’t want to miss this, and if you haven’t seen it before, this is an excellent introduction to this stirring, thought-provoking show. It exceeded my lofty expectations, and it’s a powerful way to close out this already excellent season at STAGES. 

Shereen Pimentel, Tamar Greene
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is presenting Ragtime at the Kirkwood Performing Arts Center until October 20, 2024

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Union Avenue Opera’s “Ragtime” Highlights Excellent Vocals, Sweeping Story

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

Ragtime
Music by Stephen Flaherty, Lyrics by Lynn Ahrens, Book by Terrence McNally
Directed by Shaun Patrick Tubbs
Choreographed by Leah Tubbs
Union Avenue Opera
August 18, 2023

Cast of Ragtime
Photo by Dan Donovan Photography
Union Avenue Opera

Union Avenue Opera’s relatively new tradition of staging compelling musical theatre productions continues with their 2023 season closing show, Ragtime. This is a big show, with a large cast that, as is fitting for an opera company, especially highlights the superb vocals of its well-chosen cast. It’s also a detailed, well-produced show in a technical sense.

Based on E. L. Doctorow’s celebrated novel, Ragtime tells the intersecting stories of three distinct groups of people and the times in which they live, featuring actual events and celebrities of the time interacting with Doctorow’s original characters. The focal characters include the white residents of affluent New York City suburb New Rochelle, represented by obtuse, world-traveling Father Eric J. McConnell, and pampered Mother (Debby Lennon), along with their son Edgar (Gavin Nobbe), Mother’s aimless Younger Brother (James Stevens), and the curmudgeonly Grandfather (Chuck Lavazzi). Meanwhile, in Harlem, Black ragtime pianist Coalhouse Walker, Jr. (Nyghél J. Byrd) entertains and develops a following, but he has grand plans involving a young woman, Sarah (Jazmine Olwalia), with whom he has had a relationship and wants to renew the connection after Sarah has fled to New Rochelle and is taken in by Mother, along with her newborn son. Meanwhile, Tateh (Marc Shapman), and his daughter, the Little Girl (Nora Sprowls) are newly arrived Jewish immigrants from Latvia, and Tateh struggles to provide a safe, prosperous life for his daughter in the midst of poverty and discrimination. When Coalhouse, who has recently bought a shiny new Model-T car, starts spending many days in New Rochelle courting Sarah, he rouses the ire of racist fire chief Willie Conklin (Philip Touchette) and his cronies, who vandalize Coalhouse’s car and set into motion a series of events that eventually lead to profound tragedy and upheaval, as the 20th Century begins on a dramatic note and the various characters pursue their hopes and dreams in the midst of conflict and turmoil.  

There’s a lot happening in this story, and the writers do well in blending all the plotlines in, with historical events and figures being seamlessly inserted into the overarching story, as some of these characters–especially anarchist and activist Emma Goldman (Liya Khaimova)–serving as occasional narrators and commentators. Other figures like performer Evelyn Nesbit (Gina Malone), illusionist and escape artist Harry Houdini (Joel Rogier), and educator Booker T. Washington (Miles Brenton) play more prominent roles in the story along with the main characters, including Mother, Tateh, and Coalhouse and Sarah. It’s a sweeping story, and Union Avenue Opera has brought together a large cast and a more elaborate set than I’ve seen before at this venue, with the result being a compelling, emotional, and thought-provoking work that highlights a truly remarkable score.

The voices are magnificent, led by Byrd and Olwalia, who both give excellent performances and fill the sanctuary at Union Avenue Christian Church with their stellar vocals and convincing performances. These two are the heart of this production, but the rest of the cast is also strong, from the always excellent Lennon as Mother, to Stevens as the gradually more determined Younger Brother, to Schapman as the dedicated and creative Tateh. There’s a strong ensemble all around, and the group numbers especially shine, from the Act 1 ending “Till We Reach That Day” to the stirring finale. It can be a little difficult to hear the spoken dialogue from the balcony, but the supertitles (designed by Touchette) are especially helpful in this regard. The singing, and the marvelous orchestra led by conductor Scott Schoonover, were especially evident. 

Technically, this production is more than impressive. It’s stunning, especially in terms of the set by Patrick Huber and the meticulously crafted costumes by Teresa Doggett. There’s also excellent lighting by Huber that helps set and maintain the tone of the story as it unfolds. 

Ragtime is another strong production from Union Avenue Opera. As a musical with the scope of an opera and a challenging vocal score, this is an especially appropriate choice for an opera company to produce. It works well as a showcase for a strong cast of excellent singers, and it’s worth seeing–and hearing–for yourself. 

Nyghél J. Byrd, Jazmine Olwalia
Photo by Dan Donovan Photography
Union Avenue Opera

Union Avenue Opera is presenting Ragtime at Union Avenue Christian Church until August 26, 2023

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“A Man of No Importance” Brings Wit, Energy, Emotion at R-S Theatrics

Posted in St Louis Theatre, tagged , , , , , , , on August 12, 2019| Leave a Comment »

A Man of No Importance
Music by Stephen Flaherty, Book by Lynn Ahrens
Book by Terrence McNally
Directed by Christina Rios
R-S Theatrics
August 8, 2019

Cast of A Man of No Importance
Photo by Michael Young
R-S Theatrics

Discovering lesser-known shows is a fun experience, especially when they’re performed by a company with a track record for excellent, thoughtful productions. Such a production is now onstage at the Marcelle in Midtown, produced by R-S Theatrics. A Man of No Importance is a show I hadn’t heard of before I saw the announcements for this production, so I looked it up and saw it had a great team of writers (the same team who created Ragtime), as well as an excellent cast and R-S Theatrics’ strong reputation for thought-provoking theatrical excellence. Upon seeing the show, I’m even more glad for companies like this, since it’s a witty, charming and poignant show that deserves a wider audience.

This is a show that’s full of character, and characters. Set in Dublin, Ireland in the 1960s, it’s based on a somewhat obscure 1994 film of the same name. It’s also, for the most part, a highly affectionate look at the world of amateur theatre. The central figure is Alfie Byrne (Mark Kelley), a bus conductor who is unmarried and lives with his sister, Lily (Stephanie Merritt). Lily wants to marry the traditionalist Mr. Carney (Michael B. Musgrave-Perkins), but has waited for Alfie to marry first, although Alfie is essentially “married” to his theatre company, St. Imelda’s Players, and he spends his time reading Oscar Wilde and imagining new productions he can stage. When Alfie meets newcomer Adele (Lindy Elliott), he is captivated, but not in the way Lily wishes he would be. Instead, he sees in Adele the ideal star for his dream production of Oscar Wilde’s biblical drama Salome, and he encourages her to participate even though she has no theatrical experience. He also harbors a secret affection for his good-looking young bus driver, Robbie (Kellen Green), who he also tries to recruit to be in the play. The usual regulars of his productions are there, as well, including kindly widowed stage manager Baldy (Kent Coffel) and eager participants Mrs. Curtin (Nancy Nigh), Mrs. Grace (Jodi Stockton), and Miss Crow (Kay Love), Rasher Flynn (Marshall Jennings), and Ernie Lally (Dustin Allison). The problems come when Mr. Carney, who has also been cast in the play, starts to have issues with its content, and he takes up his concerns with the local Catholic organization and Father Kenny (also Allison), the priest at the church where the theatre group performs. Through the course of the events, Alfie is also forced to come to terms with some important truths about himself. The show starts out as a flashback and a sort of play-within-a-play, telling Alfie’s story and that of his troubled production. The characters are especially well-drawn and specific, and the story is thoroughly engaging, with elements of fantasy blended in with slice-of-life comedy drama, with an intelligent book by Terrence McNally and an engaging score by Stephen Flaherty and Lynn Ahrens that includes influences of Irish music.

With such strongly defined characters, a great cast is essential for a show like this, and this production has that. Led by Kelley’s truly charming, thoughtful, well-sung performance as Alfie, this is a production full of impressive performances, including Merritt as the stubborn but loving Lily; Green, who is in great voice as Robbie; and Elliot who is sympathetic as the initially shy, somewhat mysterious Adele. Musgrave-Perkins is also a strong presence as both the self-absorbed, strait-laced Mr. Carney and as the ghost of Oscar Wilde, who appears as an encouraging figment of Alfie’s imagination. All the players are excellent, with Nigh, Stockton, and Love giving strong comic performances, and Allison excellent in a dual role as a well-meaning but doubtful priest and as a theatre company member who presents a directorial challenge for Alfie. There are also fine performances from Coffel as the dependable Baldy and Jennings as Rasher and also as Breton Beret, an enigmatic figure who Alfie meets in a pub. Jennifer Theby-Quinn, in a relatively small role as church member Mrs. Patrick, gets some terrific solo vocal opportunities, as well. It’s a superb cast all around, bringing energy and style and a believable Irish flair to the story.

The technical aspects of this show are also strong, with a believable lived-in look to the set (designer not listed), as well as colorful costumes by Amanda Brasher. Nathan Schroeder’s lighting and Heather Tucker’s props also add to the overall atmosphere especially well. There’s also an excellent band led by music director Curtis Moeller, who also plays a few smaller roles in the show, along with a few other band members. The music sounds great, although at times they can overpower the singers.

A Man of No Importance is a show you may not have heard of, but if you don’t know it, you should! It’s a well-constructed story with some important themes of community, self-expression, family relationships, and more, as well as an overarching tone of sheer love for the theatre. At R-S Theatrics, director Christina Rios and company have staged another memorable, thoughtful success. It’s Rios’s last production as director for this company, and she’s going out on an especially high note. Go see this if you can.

Cast of A Man of No Importance
Photo by Michael Young
R-S Theatrics

R-S Theatrics is presenting A Man of No Importance at the Marcelle Theatre until August 25, 2019

 

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A Remarkable “Ragtime” at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , , , , , , on August 9, 2017| Leave a Comment »

Ragtime, the Musical
Book by Terrence McNally, Music by Stephen Flaherty, Lyrics by Lynn Ahrens
Based on the Novel by E.L. Doctorow
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
August 3, 2017

Cast of Ragtime
Photo by John Lamb

Stray Dog Theatre

“Ambitious” is a good word to describe Stray Dog Theatre’s production of Ragtime, just thinking about it. SDT isn’t a huge company, and their venue, the Tower Grove Abbey, isn’t that big either, but Ragtime is a big musical, in terms of casting, technical demands, and overall scope. This is one of those situations that might make someone wonder if a production like this would even work. Fortunately, however, this production does work, extremely well.

Based on E. L. Doctorow’s sprawling, heavily plotted novel, the musical Ragtime is grand in scope, examining life in New York City and its suburbs in the early 20th Century, and the major societal changes that were going on during that time. There’s a lot of story here, and the writers deserve credit for fitting all the plots into a coherent and fascinating musical. Real historical figures such as Emma Goldman (Laura Kyro), Harry Houdini (Joseph Gutowski), J.P. Morgan (Gerry Love), Henry Ford (Jason Meyers), Evelyn Nesbit (Angela Bubash), and Booker T. Washington (Terry Lee Watkins, Jr.) appear in the show interacting with the fictional characters and helping to set the scene and paint a picture of the times. The three main plots involve characters from different backgrounds living in a world of class and racial tensions, systemic racism and discrimination, as well as the rise of immigration, changes in technology and societal expectations, and more.  There’s an upper-class family in the rich, and very white, suburb of New Rochelle, featuring a somewhat obtuse but world exploring Father (Phil Leveling), a cynical Grandfather (Chuck Lavazzi), a pampered Mother (Kay Love) who is learning that the world isn’t as simple as she had thought, and the Little Boy, Edgar (Joe Webb).  Against the expectations of society, Mother takes in a young black woman, Sarah (Evan Addams) and her newborn son. The child’s father is ragtime piano player Coalhouse Walker, Jr. (Omega Jones), who wants to marry Sarah and has big dreams for their future as a family. There’s also Tateh (Jeffrey M. Wright), a Jewish immigrant artist from Latvia who arrives in New York with his daughter (Avery Smith) looking to make a new life in America. This is only the beginning, though. Complications occur for everyone involved, as Mother starts to see her values conflicting with those of her husband, Mother’s Younger Brother (Jon Bee) looks for a purpose in life, Coalhouse is bullied and harassed by the local fire chief (also Lavazzi) and his cronies who don’t like the idea of a black man with a fancy new car spending so much time in New Rochelle, and Tateh’s efforts to provide for his daughter take him from the streets of New York to Boston and beyond. Hopes and dreams are confronted with harsh reality, cruelty, and injustice, and life changes significantly for everyone involved.

This isn’t an easy story to describe without taking too much time and spoiling too much, but all the plots are woven together expertly, and the tension builds throughout the first act and explodes in the second. This is an intensely challenging, moving, and thought-provoking work, and SDT has staged it as well as I could imagine. The singing is first-rate, from the leads to the large and impressive ensemble. From the very first moment of the show, the ensemble and the music set the mood, along with the excellent band led by music director Jennifer Buchheit. The music is a mixture of traditional Broadway and turn of the 20th Century styles including, as is to be expected from the title of the play, a major ragtime influence.  The time and place are evoked well through means of David Blake’s expansive, multi-level set with platforms, staircases, and the look of steel-beam construction from the era. There are also meticulously detailed period costumes by Eileen Engel, and dramatic lighting by Tyler Duenow that helps transport the audience to this specific era and place in history. The only small issue I have with this production is that Coalhouse and Sarah’s baby (played by a doll) never actually ages despite the fact that several years go by in the course of the story.

The cast here is simply remarkable, with not a weak link among them. Everyone is ideally cast, and the character relationships are well-established and believable, with excellent chemistry in the ensemble and among the leads. Jones and Addams especially display a strong connection as Coalhouse and Sarah, with powerful voices as well. Their hopeful duet “Wheels of a Dream” in Act 1 is a particular highlight. Jones is also especially adept at portraying Coalhouse’s journey throughout the story, as the character goes through a great deal of profound changes. Also strong are Kay Love, in a thoughtful, reflective and beautifully sung turn as Mother; Wright, determined and engaging as Tateh; and Bee as a particularly earnest and determined Younger Brother. There are also some memorable performances from Lavazzi in two distinct roles–the jaded Grandpa and the bigoted, bullying fire chief–as well as Bubash as the perky singer and actress Evelyn Nesbit, who is the center of a national scandal; Kyro as the insistent activist Emma Goldman; and young Webb and Smith as the Little Boy and the Little Girl. Everyone is excellent, though. If I named all the strong performances, I would be listing the whole cast, because everyone is just that good. This is a show that demands a lot from its cast in terms of vocals, acting, and overall energy, and this cast delivers all that and more, from the very first note to the stirring Act 1 finale “Till We Reach That Day” to the Epilogue that ends the show.

I’m fairly sure this is the biggest show Stray Dog has ever done, and it’s simply stunning. The pacing is just right as well, not too rushed and not too slow. The moments of emotional resonance are given just the right amount of time, and all the players work together with precision and strength. It’s a profoundly moving portrait of a pivotal time in American history, but it also has a lot to say for today’s times as well. This is a truly brilliant production.

Kay Love, Evan Addams
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ragtime at the Tower Grove Abbey until August 19, 2017.

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The Rep Studio’s “Mothers and Sons” Features Complex Plot, Strong Acting

Posted in St Louis Theatre, tagged , , , , , on November 5, 2016| Leave a Comment »

Mothers and Sons
by Terrence McNally
Directed by Michael Evan Haney
Repertory Theatre of St. Louis, Studio
October 29, 2016

Darrie Lawrence, Harry Bouvy Photo by Peter Wochniak Repertory Theatre of St. Louis

Darrie Lawrence, Harry Bouvy
Photo by Peter Wochniak
Repertory Theatre of St. Louis

Mothers and Sons, currently playing at the Rep Studio, isn’t a long play, but there’s a whole lot going on. A complex plot and well-drawn characters make this play interesting and at times profound. The Rep’s production is especially notable for its excellent performances, conveying a lot of the depth of this story and making it riveting to watch.

It’s a somewhat complicated plot, mostly based on conversation and reflection. The play opens with Katharine (Darrie Lawrence) standing by the window in a well-appointed Manhattan apartment with Cal (Harry Bouvy), who’s pointing out the view of Central Park and various sights. The conversation is awkward, and we soon learn why. It turns out that Katharine is the mother of Andre, who died of AIDS 20 years previously and who was in a long-term relationship with Cal, who hasn’t seen Katharine since Andre’s memorial service. A lot has changed in 20 years, in the country as well in the personal lives of Katharine and Cal. Katharine is a recent widow, and Cal is now married to Will (Michael Keyloun), and they have a 7-year-old son, Bud (Simon Desilets). Katharine’s visit is a disruption of Cal and Will’s happy existence, and many issues are stirred up, including Katharine’s regrets concerning her relationship with Andre and with Cal, Cal’s feelings of guilt for having survived Andre and having achieved the happy married life he and Andre were unable to have, Katharine’s denial of various aspects of her son’s life, Will’s jealousy of the memory of Andre, the age difference between Will and Cal and its effects on their views of the world, and more. It’s a somewhat talky play, taking place in one space and with only four characters, so the emphasis is on the character dynamics and the relationships.  It covers a lot of issues in its 90 minutes, but the story builds well and the playwright Terrence McNally’s dialogue is incisive and insightful, for the most part. The biggest strength of this production, though, is in the acting.

Darrie Lawrence gives a remarkable, powerful performance as Katharine, an extremely flawed character who is made to face and deal with her own flaws, despite her frequent bouts of denial.  Lawrence makes Katharine’s rigidity, her resistance to change, and her humanity extremely believable, bringing weight to all the developing relationships in the play, especially with Bouvy’s Cal and the unseen but very well-realized Andre. Bouvy is also excellent as Cal, a man who has found happiness after loss but still deals with some unresolved guilt and regret. His scenes with Lawrence are charged with tension, and he also has some great moments with Keyloun as the amiable, earnest and thoughtful Will.  Young Desilets also gives a strong performance as Bud, a well-loved little boy who doesn’t quite understand what’s happening around him, but who wants everyone to be happy.  The love between the family unit of Cal, Will, and Bud is convincing, as are Bud’s attempts to include Katharine in the family dynamic.

The play’s staging setup works well for the drama that unfolds, as the action is surrounded on three sides by the audience, allowing for an effective sense of immediacy. James Wolk’s set recreates an upper class Manhattan apartment convincingly, and Elizabeth Eisloeffel’s costumes suit the characters well, also helping to emphasize the age and generational differences between the characters. There’s also strong use of lighting by John Wylie and clear, effective sound by Amanda Werre.

Overall, as its title suggests, Mothers and Sons is a play about relationships, featuring well-drawn characters and situations.  It tackles a number of issues specific to these characters as well as some important universal themes.  Terrence McNally is a an excellent playwright and he has a strong sense of time, place, and character, although what really brings this production to life is its superb performances, and especially that of Lawrence as Katharine.  There are a lot of difficult, intense emotions here, and they are portrayed with intensity, depth and clarity in this excellent, well-directed production at the Rep Studio.

Harry Bouvy, Michael Keyloun, Simon Desilets Photo by Peter Wochniak Repertory Theatre of St. Louis

Harry Bouvy, Michael Keyloun, Simon Desilets
Photo by Peter Wochniak
Repertory Theatre of St. Louis

Mothers and Sons is being presented at the Repertory Theatre of St. Louis Studio until November 13, 2016.

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“The Full Monty” at STAGES is a Crowd Pleaser

Posted in St Louis Theatre, tagged , , , , , , , on September 17, 2015| Leave a Comment »

The Full Monty
Book by Terrence McNally, Music and Lyrics by David Yazbek
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
September 9, 2015

Cast of The Full Monty Photo by Peter Wochniak STAGES St. Louis

Cast of The Full Monty
Photo by Peter Wochniak
STAGES St. Louis

The Full Monty is the closing production of STAGES St. Louis’s 2015 season. I had never seen this show before, or the film on which it is based. For the most part, I find it a pleasant surprise.  Everyone knows it as that show about male strippers, but even more than that it’s a celebration of friendship, family, and determination. With a strong, likable cast and the impressive production values that STAGES is known for, this proves to be an entertaining, worthwhile production.

Adapted from the popular British film, the musical version of The Full Monty moves the setting from Sheffield, England to Buffalo, New York in the late 1990’s. The story follows Jerry Lukowski (Brent Michael Diroma) and his best friend Dave Bukatinsky (Todd A. Horman), who have lost their jobs when a local steel mill shut down. Jerry, a divorced father of 14-year-old Nathan (Cole Hoefferle), needs a job so he can keep up child support payments and maintain joint custody of his son. Dave has self-image issues based on being out of a job and being overweight, causing him to neglect his loving wife Georgie (Lindsie Vanwinkle). After noticing the popularity of a local “women only” strip club, Jerry gets the idea to form a group to perform a one-night-only act in order to make the money he needs. Along the way, they meet other down-on-their-luck guys, like the fastidious Harold (James Ludwig), who takes dance classes with his materialistic but loving wife Vicki (Julie Cardia) and agrees to become their choreographer. There’s also Noah “Horse” Simmons (Milton Craig Neal), who is older and has a bad hip, but is a great dancer, although he struggles with public perceptions demonstrated in his song “Big Black Man.” Rounding out the group are the shy young Malcolm (Erik Keiser), who lives with his elderly mother and struggles to find a purpose in life, and the amiable and charming but not too bright Ethan (Adam Shonkwiler), who forms a close bond with Malcolm. A lot happens through the course of this show, with the grand finale strip performance being the ultimate goal, although what’s really important is the relationships–friendships and romances–that are formed and rebuilt.

For the most part, this is a highly entertaining show. I’m not 100% sold on the idea of “empowerment through stripping”, but that’s not all this show is about. It’s about friends and family, and honesty and integrity. It’s populated with likable characters, although there are some stereotypes that can be uncomfortable, and most of the songs are not particularly memorable, with some truly clunky lyrics. The closing number “Let It Go” (no, not that one) is catchy enough, though, and there’s a memorable moment for Keiser and Shonkwiler in “You Walk With Me”, although none of these songs is likely to become a classic. Still, there’s great dancing, choreographed by Stephen Bourneuf, and some truly poignant moments as well some excellent comedy.

The heart of this show is its characters, and the actors are well-cast.  Diroma makes a convincing down-on-his-luck Jerry, although at times he seems a little too clean-cut for the role. He’s got a strong voice and good stage presence, though, and great chemistry with the rest of the group of guys, especially Horman’s glum but sweet Dave.  The real standouts in the cast for me, though, are Ludwig and Cardia as Harold and Vicki, a loving couple who have to deal with a secret that threatens their relationship. The energy and affection between these two is heartwarming. There’s also local favorite Zoe Vonder Haar as the group’s feisty, no-nonsense self-appointed pianist, Jeanette. Neal as Horse shows off great dance and comic ability, and Keiser is particularly winning as the initially depressed Malcolm. Shonkwiler as Ethan gives a strong performance as well, particularly in his scenes with Keiser.

In terms of production values, this show delivers what STAGES is known for–excellence and professionalism. The set, by James Wolk, is appropriately evocative of a working class Buffalo environment. The costumes, by Garth Dunbar, are suitably late 90’s styled, colorful, and character-appropriate. There’s also outstanding lighting, designed by Matthew McCarthy, that lends gritty realism to some scenes and showbiz glitz to the strip club scenes.

Although I have some issues with the writing of this show, for the most part it does what it intends to do: entertain. With a very strong cast of characters and top-notch production values, The Full Monty is a crowd pleasing closer to STAGES’ season. It’s a fun show with a lot of heart.

Cast of The Full Monty Photo by Peter Wochniak STAGES St. Louis

Cast of The Full Monty
Photo by Peter Wochniak
STAGES St. Louis

The Full Monty from STAGES St. Louis runs at the Robert G. Reim Theatre in Kirkwood until October 4, 2015

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Another Profound Success From Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , on June 17, 2014| Leave a Comment »

Love! Valour! Compassion!
by Terrence McNally
Directed by Gary F. Bell
Stray Dog Theatre
June 14, 2014

Zachary Stefaniak, Patrick Kelly, David Wassilak, Stephen Peirick, Jonathan Hey, Zach Wachter Photo by John Lamb Stray Dog Theatre

Zachary Stefaniak, Patrick Kelly, David Wassilak, Stephen Peirick, Jonathan Hey, Zach Wachter
Photo by John Lamb
Stray Dog Theatre

 

Love! Valour! Compassion! is a play I’d never had the chance to see before attending the production currently being presented at Stray Dog Theatre.  I knew the basic premise and that there was at least some amount of nudity, but otherwise basically what  I knew was that Terrence McNally is an accomplished, award-winning playwright, this play was critically acclaimed and won several awards in its initial Broadway run (with Nathan Lane in the cast), and Stray Dog has never ceased to impress me with the quality of their shows.  After seeing the show, I can say that as far as I’m concerned, Stray Dog still has a perfect track record.  This show may put some people off with its mature subject matter and yes, the nudity, but really it’s about people, with richly drawn characters and relationships, portrayed by a truly wonderful cast.

Set at an idyllic, secluded lakeside cabin in upstate New York, the story is presented in a stylized, overtly theatrical, occasionally poetic manner, as each of the characters breaks the fourth wall and speaks directly to the audience, alternately narrating the happenings over three successive holiday weekends and reflecting on matters of life, art, belonging, fear and humanity. Eight gay men, most of whom are longtime friends, spend the weekends talking, laughing, singing, boating and sometimes skinny dipping in the lake.  Relationships are built, renewed, challenged and sometimes broken, and hopes, fears and insecurities are shared.  This is 1994, at the height of the AIDS crisis in America. Two of the characters–the bubbly, musical-obsessed Buzz (Patrick Kelly), and the gentle, sweet, British James (David Wassilak)–are dealing with the disease while the group plans a dance performance for a benefit concert, and others deal with survivors’ guilt and the prospect of losing more dear friends to the epidemic. Mortality is at the forefront in other ways, as well, as celebrated choreographer and dancer Gregory (Zachary Stefaniak), who owns the cabin, deals with the reality that his body is aging and that he won’t be able to dance at the same level much longer, as well as the insecurities of his relationship with his much younger boyfriend Bobby (Zach Wachter), who is blind. There’s also long-term couple Perry (Stephen Peirick) and Arthur (Jonathan Hey), who are celebrating their 14th anniversary and dealing with issues of stagnancy and temptation. Also in the group are the acerbic and manipulative John (also Wassilak), twin brother and polar opposite of James, and Ramon (Chris Tipp), a good-looking, brash 22-year-old dancer with an eye for Bobby, and who poses a threat to Gregory both as a romantic rival and as a symbol of youth and potential in his dance career.

This show is essentially a character study. It’s about how gay men relate to one another and to the world around them. It’s also about the human condition, and the nakedness here goes beyond the merely physical.  In fact, the actual nudity is dealt with in such a way that it becomes basically incidental, with more importance being given to the baring of emotions.  The cast here is nothing short of superb, across the board. Each character is fully realized and ideally cast.  The most memorable performances for me were those of Kelly as the endearingly enthusiastic Buzz, with his list of obscure musical theatre facts and his (not always successful) determination to stay positive in the midst of his illness, and of Wassilak in the extremely challenging dual role of a pair of identical twins with anything but identical personalities.  The distinction between the characters is immediately obvious due to Wassilak’s mannerisms, even in one poignant and memorable scene in which he portrays a conversation between both characters, shifting between the characterizations with apparent ease. Kelly and Wassilak (as James) share some of the play’s more poignant scenes, as well. Stefaniak is also impressive as the compassionate and proud Gregory, and Wachter is charming as the alternately optimistic and bewildered Bobby. Hey and Peirick display excellent chemistry as Arthur and Perry, and Tipp is full of bravado and attitude as the confrontational Ramon.  There are many great scenes, but what is most impressive is the overall cohesive energy of this group of actors.

The dialogue here is sharp and witty in moments, and occasionally sentimental.  It’s a very obviously theatrical script, with the words and rhythms of speech emphasizing the heightened emotions.  There’s quite a bit of humor as well as more intense drama over the course of an approximately three-and-a-half hour running time (with two intermissions). It’s all very well paced by director Gary F. Bell, who also designed the very character-appropriate costumes.  The world of the cabin by the lake is also fully realized by Rob Lippert’s evocative set, and a backdrop by Lippert and Gary Karasek that gives the suggestion of an Impressionist painting.  There’s also great lighting by Tyler Duenow and sound by Justin Been that helps add to the overall rustic atmosphere.

I think one of the most important aspects of theeatre is its capacity for communication and education.  Situations can be different, and people are different, but no matter how different we are, we are all human and we can learn so much from one another if we will just take the time to listen.  Love! Valour! Compassion! will raise a lot of questions and give audience members a lot to think and talk about after the show is over. Stray Dog’s production is even more impressive than I had expected. It’s a memorable and profound production.

Jonathan Hey, Stephen Peirick, Chris Tipp, Patrick Kelly Photo by John Lamb Stray Dog Theatre

Jonathan Hey, Stephen Peirick, Chris Tipp, Patrick Kelly
Photo by John Lamb
Stray Dog Theatre

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