Posts Tagged ‘tesseract theatre company’

Well-Cast “Legally Blonde” Entertains With Energy and Heart at Tesseract

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

Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Directed by Will Bonfiglio
Choreographed by Jo Palisoc
Tesseract Theatre Company
December 7, 2025

Jonathan Hey, Grace Seidel and Cast
Photo: Tesseract Theatre Company

It seems like Legally Blonde: The Musical has only increased in popularity since its Broadway debut in 2007, having been staged all over the world and now becoming popular in regional and community theatres. I’ve seen it twice at the Muny, in large, glitzy productions, and it is generally thought of as a big, glitzy show. Now, Tesseract is staging a scaled-down production that might have a smaller cast than most productions, but is still big in energy and heart, and even bringing out a bit more substance to the show than I’ve seen before.  Featuring a great cast and clever, efficient staging, this is a show that’s as fun as ever, but perhaps even more meaningful.

The story has become a familiar one–Malibu-raised UCLA fashion student Elle Woods (Grace Seidel) has enjoyed her undergrad years of sorority parties, popularity, and spending time with her upwardly mobile fiancé Warner (Mason Ramsey), fully expecting a proposal. Warner, however, informs her that she’s not “serious” enough to fit into his goals, as he plans to attend Harvard Law School and embark on a career in law and politics. Elle, determined to prove Warner wrong and win him back, applies to Harvard and is accepted, whereupon she soon learns that achieving her goal is going to be a lot harder than she thought. At Harvard, Elle meets Emmett (Kevin Corpuz), her law school mentor, and the two soon form a friendship as Emmett helps Elle adjust to law school and perhaps set her goals higher than “getting the guy back”, while Elle helps Emmett to loosen up and find more fun and style in life. She also makes friends with unlucky-in-love  hairdresser Paulette (Marsiya Miller), helping her learn to be more assertive, while navigating the cutthroat law school atmosphere led by ruthless Professor Callahan (Jonathan Hey), whose law firm offers a prestigious internship for which the students all vie. Soon, they’re enlisted to help in the defense of famous fitness guru Brooke Wyndham (Dawn Schmid), and Elle finds her goals and values tested more than ever. 

It’s a fun show, and not the deepest in terms of themes and message, although this production finds more substance in the material than I’ve seen before. Much of the credit for this meaningful interpretation goes to the cast and director Will Bonfiglio for thoughtful staging and heartfelt performances. There are still the fun production numbers, the memorable characters, and lots of pink, but the characters seem a little deeper in this version, and while still larger-than-life, they’re not quite as over-the-top as in other versions I’ve seen.  The reduced cast size with ensemble members playing various characters as needed also contributes to this approach.

Corpuz’s smoother, almost conversational vocals, and Seidel’s earnest persistence even amid her perky style and fantastic vocals, are among the highlights of this production, and the two have believable chemistry. There’s also a scene-stealing performance from Miller, who exudes likable stage presence as Paulette. There’s also an especially energetic turn from Schmid as Brooke, leading the high-octane “Whipped Into Shape” number with athletic gusto. Other standouts include Natalie Sannes, Lillie Self-Miller, and Evan Lee as Elle’s sorority sisters-turned Greek chorus Serena, Margot, and Pilar. There’s also a fun performance from Katie Orr as Elle’s Harvard classmate Enid, and fine turns from Ramsey as the image-conscious Warner and Aditi Seetharaman as Warner’s new “serious” girlfriend Vivienne. Hey makes a suitable, oily adversary as Callahan, as well, and there’s an excellent ensemble including Ella Drake, Martin Ibarra, Molly Stout, Kyle Rudolph, Loren Goudreau, and Aadi Kadam, all playing a variety of roles as needed.

The physical production is simplified from the usual, but especially efficient in that the black box space at the Marcelle is divided into areas with much of the set decoration along the walls. The set, designed by Brittanie Gunn, consists of the decorated walls and two raised platforms along with a few furniture pieces as needed. This economic approach adds a dynamic element as the pieces are moved around to fit the story, contributing to the overall energy of the show. Carly Uding’s costumes are fantastic, from the pink tones and bright colors of Elle and her UCLA friends to the more subdued Ivy League attire of Harvard, and Sarah Gene Dowling’s wigs also contribute to the overall look and tone with style.  There’s also excellent lighting by Morgan Brennan and sound by Jacob Baxley, as well as a great band led by music director Larry D. Pry, who perform live in a different room, helping the music to not overwhelm the vocals, as can happen so often in this space. 

Overall, this Legally Blonde is as energetic and fun as ever, but it brings even more in terms of substance and heart. It’s another example of Tesseract’s thoughtful approach to staging that’s been apparent in so many of their productions. In the words of one of the show’s most prominent songs, this production is “so much better than before”.

Kevin Corpuz and Cast
Photo: Tesseract Theatre Company

Tesseract Theatre Company is presenting Legally Blonde: The Musical at the Marcelle Theatre until December 21, 2025

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Tesseract’s “Steel Magnolias” Features Strong Cast, Memorable Atmosphere

Posted in St Louis Theatre, tagged , , , , , on July 30, 2025| Leave a Comment »

Steel Magnolias
by Robert Harling
Directed by Kathryn Bentley
Tesseract Theatre Company
July 27, 2025

Victoria Pines, Margery A. Handy, Joana Dominguez, Lynett Vallejo, Lillie Self-Miller
Photo: Tesseract Theatre Company

Tesseract Theatre Company is currently staging a well-known, oft-staged play in way you may not have seen it before. Best known for the 1989 film based on Robert Harling’s play, Steel Magnolias was also filmed again for television in 2012 with an almost all-Black cast. Tesseract’s production is in a similar vein as the more recent movie, with an all POC cast while maintaining the play’s 1980s Louisiana setting. The casting and direction by Kathryn Bentley honors the setting of the play while also granting a fresh perspective on the characters, while also highlighting the universality of the play’s themes of friendship, family, and the happiness and sorrows of life throughout the changing seasons. 

Unlike the films, which added characters and scenes, the cast and setting of Steel Magnolias the play is simple–six characters, one location. The center of the action is the beauty parlor that Truvy (Joana Dominguez) runs out of her home’s converted garage, and as the play opens, she hires on a new employee–the timid Annelle (Lillie Self-Miller). Soon, we meet the regulars of the shop, including the town’s former First Lady, Clairee (Victoria Pines), the snarky Ouiser (Tammy O’Donnell), and mother and daughter M’Lynn (Margery A. Handy) and Shelby (Lynett Vallejo) as the two prepare for Shelby’s wedding. The main focus in this story is on these two, as the protective M’Lynn is concerned for the health of Shelby, who has diabetes and has been advised by her doctor not to have children. When she does become pregnant, this is cause for more concern for M’Lynn. There’s much in the way of “Southern charm” and culture throughout, with a few modifications reflecting the casting that work well and add a new perspective to the story while also maintaining the spirit of the play.

There are triumphs, tragedies, quirky stories, and a good deal of Southern humor, directed with attention to time, place, and character by Kathryn Bentley, and played with credible energy and engaging humor and warmth by the strong cast, although there are a few moments in which the comic timing could be improved, and there was bit of struggling with lines at times. The cast is strong across the board, with Handy and Vallejo especially shining as the protective M’Lynn and an especially upbeat and memorable Shelby. Pines is also excellent as the cosmopolitan Clairee, and O’Donnell has some fun comic moments as the hilariously crass Ouiser. Dominguez as Truvy is also warm and likable, and Self-Miller is especially convincing as Annelle, who undergoes quite a bit of change throughout the story. The ensemble chemistry and friendship bond is strong among the cast, and there’s a good measure of humor and poignancy, including an especially well-handled fourth act, where the drama comes out in force, but the sense of humor and hope are still there to balance it out.

The set by Brittanie Gunn is detailed and well-appointed, with a credible 80s vibe, and the costume and wig design by Shevaré Perry also adds an authentic, stylish flair. There’s also good work from Cheyenne Grooms on lighting and Stan Chisholm on sound. Overall, the look and feel of the Louisiana beauty shop, circa 1989 is well established and maintained, and the characters are given a suitable stage to shine.

Steel Magnolias is a popular show, and many theatre companies have presented it over the years. Tesseract’s latest production keeps the familiar 1980s vibe but adds an additional perspective that brings out a strong sense of the characters from a different angle. It’s well-cast, it’s full of heart and energy, and it’s likely to provoke laughter and tears from the audience. I’ve been impressed by Tesseract’s work lately, and this show is another fine example. 

Tammy O’Donnell, Margery A. Handy
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theatre Company is presenting Steel Magnolias at the Marcelle Theatre until August 10th, 2025

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Tesseract’s “POTUS” is a Well-Choreographed Madcap Farce

Posted in St Louis Theatre, tagged , , , , , , on May 31, 2025| Leave a Comment »

POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive
by Selina Fillinger
Directed by Jessica Winingham
Tesseract Theatre Company
May 22, 2025

Angela Jean Hetz, Kelly Schnider, Kimmie Kidd, Isa Davis, Sarajane Clark, Angelia Prather
Photo by Florence Flick
Tesseract Theatre Company

Farces are fun. They’re wild, chaotic, and unpredictable; or that’s how they appear onstage. The reality, however, is that every “chaotic” move has to be precisely choreographed so that it only looks like chaos to the audience. Still, it has to be believable, and the cast and director need to be up to the task. All those requirements are met with enthusiasm in Tesseract’s new production of Selina Fillinger’s wild, raunchy, satirical POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive, directed with precision by Jessica Winingham. 

The characters and situations are exaggerated, as is expected for this type of play, but the resemblance to modern politics is jarringly recognizable. The characters are all women who are in some way connected to an unseen womanizing, buffoonish president–referred to only as “POTUS” throughout the play–who is currently involved in an international nuclear proliferation conference. His chief of staff Hariette (Kelly Schnider) and press secretary Jean (Sarajane Clark) begin the story trying to deal with an inflammatory comment POTUS has made about the First Lady, Margaret (Kimmie Kidd), and the reactions of various countries involved in the talks. This is only the beginning of the difficulties, however, as other issues arise concerning a possible pardon for the president’s brash, drug-dealing sister Bernadette (Angelia Prather), and a seemingly flighty, pregnant young woman named Dusty (Isa Davis) shows up for an appointment with Harriette and also looking for POTUS. And then there’s Stephanie (Angela Jean Hetz), a nervous, insecure personal assistant who is worried she’s about to be fired, and then gets even more erratic after taking some “Tums” given to her by Bernadette. As the story goes on, the situation gets wilder, and a shocking event at the end of Act I makes things even more precarious, causing the women to scramble to find a solution to their problem. Meanwhile, journalist Chris (Laurell Renea Costello) is trying to find out as much as possible for a “big scoop” of a story while the others scramble to keep her out of the loop. 

So much happens in this play, it’s becomes somewhat difficult to keep track of what’s happening at various moments, but that’s the nature of this type of play. The characters are all broadly drawn, which again is usual for a farce. There is an intriguing subversion of stereotypes in some of the characters–particularly Dusty, who proves to be far more savvy than she first appears, and Bernadette, who turns out to be especially resourceful. The cast is excellent, led by Clark and Schnider as the ones who seem to be the most in charge, and a hilarious turn from Hetz as the increasingly unpredictable Stephanie. Kidd is also memorable as the strong-willed Margaret; Prather shows excellent comic bravado as Bernadette; Davis is hilariously determined as Dusty; and Costello is also strong as the persistent Chris. All players show cohesive chemistry and excellent comic timing, carrying out the madcap plot with precision and top-notch comic timing.

The pacing is fast and well orchestrated, making use of a deceptively simple but clever set by director Winingham that consists largely of a series of moveable archways that are rolled into place at various times as the situation requires. There’s also excellent lighting by Tony Anselmo and sound by Michael Musgrave-Perkins that work well to carry the theme and mood of the show. The costumes by Mary Bobbins are well-suited to the characters, as well. 

POTUS is a wild, irreverent, crass, and ultimately hilarious farce that lampoons modern American politics–and the views on women in political roles vs. men–with sharp wit and wild situations. The script can be hard to follow at times, but the execution here is especially strong and well-timed. It’s a riotous, fast-moving, “R-rated” farce that brings lots of laughs and much to think about.

Kelly Schnider, Sarajane Clark
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theatre Company is presenting POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive at the Kranzberg Arts Center until June 1, 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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Tesseract’s Rough But Intriguing New Musical Could Use a Little More “Fire”

Posted in St Louis Theatre, tagged , , , , , on July 21, 2024| Leave a Comment »

Cascade’s Fire
Music by Kyle Wernke, Book & Lyrics by Taylor Gruenloh
Directed by Taylor Gruenloh
Tesseract Theatre Company
July 19, 2024

Josie Schnelten
Image: Tesseract Theatre

The second entry in the Tesseract Theatre Company’s New Musical Summer Fest 2024 is much more obviously a work-in-progress. Cascade’s Fire is subtitled “A Modern Antigone” story, and it has an intriguing concept, but the structure and presentation could use a lot of work. With a nod to its Greek tragedy origins, this show gets a bit too mired in “concept” to be a completely coherent story, although the cast is giving their all and there are some interesting ideas here.

The story is told in a sort of artificially detached manner by a two-person “Greek Chorus” (Brittney Roberson, Chris Melton) that come across more as lecturers/narrators than commentators on the action. In fact, there isn’t a lot of action–the audience is told what happens more than they are shown, especially at the beginning, in which the inciting incident that makes focused young university student Cascade (Josie Schnelten) leave school and disappear for three years is told in a somewhat clinical way by the chorus. Then, Cascade is occasionally talked about, but the story shifts to Trinity (Kampbell Hemeyer), Cascade’s former girlfriend, who is distraught and takes a drastic action, which eventually brings Cascade back to campus. Meanwhile, we also meet Robbie (Jordan Ray Duncan), who was romantically involved with both Cascade and Trinity; Luke (Luke Geockner), the ruthless mastermind of a horrible, exploitative “business”; and Olivia (Ella Penico), Luke’s dominated, exploited girlfriend. There’s also Dylan (David Pisoni), Olivia’s friend who is trying to find out the truth about the disappearance of several girls on campus, as well as what drove Trinity to her final action. 

If this plot all sounds a bit cluttered, that’s because it is. Even though the show is called Cascade’s Fire, Cascade herself doesn’t figure a lot into the story except at the beginning and the end. This isn’t necessarily a problem, since this show is inspired by the Greek tragedy Antigone, which turns out to be a lot more about Antigone’s uncle, King Creon, than Antigone herself, and in which Antigone is resolute about what she’s going to do from the beginning, and never relents. Cascade in this story echoes Antigone in that way, but there’s a lack of focus in the various subplots to the point where we almost have to be reminded that Cascade still exists, until the end, in which the passions ramp up and the story finally starts coming across more as a play than an lecture or academic exercise. The rest of the characters are not given enough development to invest in too much, with the most dominant players being the chorus, who keep showing up to remind us that this play is a tragedy, as if the show itself isn’t able to communicate that fact.

As for the cast, everyone is trying their best, led by Schelten’s fiercely determined Cascade. The singing is hit-or-miss, and the songs aren’t especially memorable. Also, despite the fact that several of the characters are romantically involved with one another at various moments in the story, there is no real chemistry between the performers in this way. 

Production-wise, the set by Taylor Gruenloh and David Pisoni is simple and effective, and Matt Stuckel’s lighting is somewhat static and stark. The sound isn’t especially consistent, and especially during the songs, it can be difficult to understand the words. There’s a somewhat rough, unpolished look and feel about the staging, somewhat like a school drama project in its early stages.

There are some good ideas here, and important issues being brought up, although everything is still quite rough and coldly academic. Still, the performers are invested and this is obviously a work in progress. Cascade’s Fire could use a little more fire, but there is potential here. 

The Tesseract Theatre company is presenting Cascade’s Fire as part of the New Musical Summer Fest 2024 at the Marcelle Theatre until July 28, 2024

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Tuneful “My Heart Says Go” is a Promising New Musical from Tesseract

Posted in St Louis Theatre, tagged , , , , , , , on July 18, 2024| Leave a Comment »

My Heart Says Go
Music and Lyrics by Jorge Rivera-Herrans
Additional Arrangements by Geoffrey Ko
Book by Matthew Hawkins
Directed by Brittanie Gunn
Choreographed by Maggie Nold
Tesseract Theatre Company
July 13, 2024

Kevin Corpuz and Cast
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theater Company is launching their New Musical Summer Fest this year, with two musicals opening on successive weekends. The first entry is the earnestly engaging My Heart Says Go, which features a theme that can be seen as overused, although the characters are memorable, the score is catchy, and the cast is excellent. It’s got a lot in the way of entertainment value, although there are a few plot issues that need some work.

From the show’s title, you’ll essentially know the theme. This is one of those “follow your heart/find your dream” stories that are so plentiful these days. Because this general idea is so popular, a lot of these stories can seem to blur together after a while, so it’s something of a challenge to make them stand out from the others. This show has a tuneful score, memorable characters, and a quirky, knowing sense of humor that lends much interest to it’s story. The plot follows Indigo (Kevin Corpuz)– a young math/science whiz who quits medical school to pursue the dream of becoming a musician. He’s even developed an algorithm to write the “perfect pop song”, so he packs up his guitar and takes the train to Los Angeles, leaving behind his skeptical, hardworking dad (Kelvin Urday), who has had high hopes for Indigo’s success in the medical field. On the way, Indigo meets would-be fashion designer Clara (Sarah Wilkinson), who is also headed to LA and has an even more complicated relationship with her mother (Loren Goudreau). A sympathetic train conductor (Victoria Pines) encourages Indigo and Clara to make the most of their lives.

Upon arriving in LA, Indigo and Clara end up sharing an apartment, managed by geeky wannabe social media influencer Timmy (Clayton Humburg), who gives them a deal against the wishes of his mom, who owns the building. As Clara barters for groceries and Indigo looks for a job to make ends meet, they also meet Rob (Kevin Hester), a struggling musician who apparently used to be more successful, and who has connections at a recording studio. Soon, as Indigo’s dad tries to convince him to give med school another try, Indigo finds out about a TV talent competition and enters. Will this be the big break Indigo has been looking for? Or is there more drama ahead?

There are some plot issues with this show, in that it tends to be predictable, and some subplots–such as those involving Rob, as well as Clara’s mom–aren’t given enough time or suitable conclusion. And Clara’s story isn’t as fleshed-out as it could be, either. Still, even with its drawbacks, this is an engaging show, with humor and a promising score, and especially memorable characters played well by the well-chosen cast. Corpuz is highly likable as the talented but conflicted Indigo, with a great voice and convincing stage presence. Wilkinson is also strong as the quirky Clara, and Humburg steals every scene he’s in as the charmingly nerdy Timmy. There are also standout turns from Urday as Indigo’s loving but concerned father and Pines, in great voice as the wise train conductor. There’s also a fine ensemble in support, including Grace Langford, Laura Schultz, Milo Garlich, David Gregory, and Khristian Duncan. 

Visually, the show has a simple but eye-catching look, with Brittanie Gunn’s versatile set highlighted by a neon backdrop aiding the storytelling especially well. There are also well-suited costumes by Abby Pastorello, striking atmospheric lighting by Matt Stuckel,  strong music direction by Larry Pry, and energetic choreography by Maggie Nold, working together with the staging to create a sense of motion and moving forward that lends urgency and vibrancy as the plot unfolds.

Overall, although it could use some revision, this is an engaging, entertaining new musical. As staged by Tesseract, My Heart Says Go features an enthusiastic cast, strong vocals, and a cohesive visual style. It’s a highly promising new work. 

Kevin Corpuz, Clayton Humburg, Sarah Wilkinson
Photo by Florence Flick
Tesseract Theatre Company

 

Tesseract Theatre Company is presenting My Heart Says Go as part of the New Musical Summer Fest 2024 at the Marcelle Theatre until July 24, 2024

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Tesseract’s “Inheritance” is a Memorable Drama of Epic Proportions

Posted in St Louis Theatre, tagged , , , , , , , on May 9, 2024| Leave a Comment »

The Inheritance Part One and Part Two
by Matthew Lopez
Inspired by the Novel Howards End by E.M. Forster
Directed by Stephen Peirick
Tesseract Theatre Company
April 26 and May 2, 2024

Gabriel Paul, Chris Kernan
Photo by Florence Flick
Tesseract Theatre Company

I can’t think of a better word than “epic” to describe Tesseract Theatre Company’s latest production, the two-part, seven hour drama The Inheritance, which was performed over two weekends at the Marcelle Theatre. A somewhat loose adaptation and updating of an E.M. Forster classic, this story follows a group of gay men in New York City and explores generational differences, relationships, and legacies in a highly personal manner. At Tesseract, as directed by Stephen Peirick, this marathon theatrical experience boasts a first-rate cast and fascinating staging that held the audience’s attention through two full-length plays worth of gripping drama. 

Even though the program says this play was “inspired by” Forsters’ Howards End, and playwright Matthew Lopez certainly adapts that story to fit his own storytelling purpose, it follows the basic plot structure of its source novel surprisingly closely, especially in the thread that follows the earnest activist Eric Glass (Chris Kernan) and wealthy businessman Henry Wilcox (Jonathan Hey). As the story begins, Eric and his long-term boyfriend, aspiring writer Toby Darling (Gabriel Paul) are living in New York City and frequently hosting their various friends–all gay men of varying professions and personal aspirations. They soon become acquainted with Adam (Tyson Cole) who gets his shopping bag mixed up with Toby’s. The ambitious but secretive and hedonistic Toby soon becomes somewhat obsessed with Adam, who becomes the star of Toby’s new play. Eric, meanwhile, forms a friendship with his neighbor Walter (Alex C. Moore), an older, man who tells Eric stories and memories of his house in upstate New York that he bought with his partner Henry to be a retreat from the city, but eventually became a place for Walter to take care of his many friends who were dying as a result of the AIDS epidemic, while also becoming a point of contention between him and Henry. If you’ve read Howards’ End, or seen any of the filmed versions of the story, you probably know where this is going. 

Although this story is told in two parts that are both three act, full-length plays, it’s essentially one very long play that has to be broken up for time. It’s essentially a mini-series onstage, and Part Two continues the story, focusing more on Eric’s relationship with Henry as well as the important role that Walter’s house plays in the story. It also follows Toby’s story as he plunges into indulgence and excess, eventually reckoning with the past he’s tried to hide. We also get to know Leo (also Cole), who showed up in part one as a young man Toby pays for a sexual encounter, but later returns and becomes a major focus of the story. We also get to meet Margaret (Margery Handy), the caretaker of Walter’s house, who has a poignant story of her own. 

There’s a lot of story here, and a lot of focus on the differences in the lives of gay men of different generations and cultural backgrounds. E.M. Forster himself (also Moore) also appears as an influence on the story, but the characters have some challenges for him in terms of how he lived his life in a time when gay men couldn’t be as open about their lives as they can now. Many other issues are raised in dialogue, and there are some moments where characters seem to be reciting issues more than acting them out, but for the most part, this is an effecting, powerful piece of theatre that challenges perspectives, educates about important history, and expounds on the importance of connection, compassion, and legacy, especially among gay men. 

The cast is excellent, led by Kernan in a compelling, engaging turn as the idealistic but self-doubting Eric, Cole in a dual role as the rising star actor Adam and the struggling, intellectually curious Leo. Paul, in the difficult role of the self-destructive writer Toby, is also fantastic, making a character who is hard to like fascinating and sympathetic. There is also a strong turn from Moore in the dual role of E.M. Forster (who goes by “Morgan”) and Walter, making both characters compelling and memorable. He also shines as the somewhat prickly Henry, and Handy makes the most of her fairly short stage time with some terrific work as Margaret. The rest of the cast is also excellent, with Stephen Henley, Donald Kidd, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, and  Kelvin Urday all turning in strong performances in a variety of roles and contributing to the overall ensemble chemistry in a convincing way.

The production design works well in maintaining the overall tone of the story, with a simple but effective set by director Peirick that adapts well to the various changes of time, place, and situation. Tony Anselmo’s lighting is especially impressive in conveying the various shifting moods of the story. There’s also excellent work from sound designer Jacob Baxley and dialect coach Mark Kelley.

This has been an especially ambitious undertaking by Tesseract, which has become more bold as of late, with their successful venture into musicals, as well as bigger productions in general. The Inheritance is a riveting, intelligent, emotional theatrical experience, with a strong sense of structure as well as an inventive use of its source material. Although it doesn’t always follow the plot of Howards End exactly, I found it especially helpful to know that story while watching this one. This was a marathon of a play, and a remarkable success for Tesseract Theatre Company.

Cast of The Inheritance ( in Part 2)
Photo by Florence Flick
Tesseract Theatre Company

 

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Tesseract’s Engaging “Mad Ones” Features Strong Cast, Great Singing

Posted in St Louis Theatre, tagged , , , , , , , on November 7, 2023| Leave a Comment »

The Mad Ones
by Kait Kerrigan and Bree Lowdermilk
Based on an Idea by Zach Altman and Bree Lowdermilk
Directed and Choreographed by Kevin Corpuz
Tesseract Theatre Company
November 3, 2023

Melissa Felps, Grace Langford
Photo by Florence Flick
Tesseract Theatre Company

Tesseract Theatre Company’s foray into musical theatre continues to be a resounding success. Having produced a few impressive musicals so far, the company’s new focus is continuing with an excellent production of a smaller show with a big heart. The Mad Ones–written by Kait Kerrigan and Bree Lowdermilk–isn’t one I had heard of before, but after seeing the first-rate production at the Marcelle, directed and choreographed by Kevin Corpuz, I’m sure I’ll remember it for some time to come.

The plot isn’t particularly unique, featuring the reasonably familiar formula of the young, rule-following protagonist trying to figure out the direction of her life, influenced by the more carefree attitude of her more outgoing, rebellious best friend. There’s also a caring but sometimes overprotective parent and a sweet but unadventurous boyfriend, who the best friend thinks is boring. There’s even a twist that’s fairly easy to figure out early on in the show. Still, while in some ways seems like a story that’s been told before, what makes it work is the sheer believability and likability of the characters, and the relatability of the situations. Recent high school graduate Samantha, her friend Kelly, her mom Beverly, and boyfriend Adam have a story to tell that’s thought-provoking and well-constructed. There’s also a  good balance of humor and drama, as well as a memorable score of songs that fit the story well and express the characters’ motivations and emotions with clarity.

The show is staged in an eye-catching way with an abstract set by Todd Schaefer that consists of series of platforms and performance areas, and a minimalist approximation of a car that features prominently in the story. There’s also vibrant lighting by Brittanie Gunn that adds to the atmosphere and tone of the story. The sound by Jacob Baxley is well-balanced, and there’s a great band led by music director and keyboardist Joe Schoen, doing justice to the score and supporting the performers well without overpowering the singers. The staging and choreography by director Corpuz are also well-paced and engaging.

What’s most engaging of all here is the wonderful cast. Led by the eminently likable Melissa Felps as Samantha, the story is given just the right degree of emotional resonance, and the singing is excellent from all. Felps has a strong, emotive voice, and the rest of the cast is just as good, with Grace Langford as the impulsive, party-loving Kelly working especially well with Felps in their many scenes together. There are also pitch-perfect performances–both acting-wise and vocally–from Sarah Gene Dowling as the statistics-minded Beverly and Cody Cole as the kindhearted Adam. It’s a strong ensemble all around, with cohesive chemistry and exquisite vocal harmonies. 

Overall, The Mad Ones may not be the most well-known of shows and its premise might not seem entirely original, but it’s well worth checking out for its emotional resonance, well-drawn characters, and relatable message. At Tesseract, it’s also a showcase for a marvelous cast and some truly magnificent singing. It’s more evidence for Tesseract that the decision to focus more on musicals was the right one.

Grace Langford, Cody Cole, Melissa Felps, Sarah Gene Dowling
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theatre Company is presenting The Mad Ones at the Marcelle Theatre until November 12, 2023

This review was originally published at kdhx.org

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Tesseract Introduces a Fascinating New play “In Bloom”

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

In Bloom
by Gwyneth Strope
Directed by Brittanie Gunn
Tesseract Theatre Company
July 21, 2023

Cast of In Bloom
Photo: Tesseract Theatre Company

The Tesseract Theatre Company’s second entry in its Summer New Play Festival finished up performances this past weekend. In Bloom, by Gwyneth Strope, is a thoroughly engaging, character-driven comedy-drama that has a lot of promise as a new play. At Tesseract, a likable, enthusiastic cast brought this intriguing one-act play to life with simple but effect production values. Although it’s not without its issues that need to be worked out, it’s a highly promising story and a vivid portrait of a family, their relationships, and their struggles.

The story follows divorced mother Dorothy (Christina Rios) and her four daughters who each have their own personal goals, interests, and struggles. There’s eldest Rosalind (Amy Riddle, standing in for principal Rhiannon Creighton), who wants to go to flight school and become a pilot; the creative but insecure Lorelei (Catherine Analla), who is concealing a secret; the usually quiet, empathetic Camille (Vaida Gruenloh), who suffers from rheumatoid arthritis; and the strong-willed youngest daughter, aspiring athlete Eileen (Rosario Rios-Kelley), who is suspicious of all the changes that are about to take place in her family as Camille takes it upon herself to be a matchmaker for her mother and Kevin, Eileen’s best friend’s father, who is much talked about but unseen onstage. The action begins as the family prepares to attend Dorothy’s mother’s wedding, and continues as the family deals with various issues of relationship, future aspirations, personality conflicts, and more, with a good deal of literary references and the motif of a developing garden, both literal and figurative. 

It’s a promising show, with vividly portrayed characters and believable relationships, with a bit of a resemblance to Little Women, although this is not an adaptation of that story. The casting is excellent, with all the players working together to portray a believable family dynamic, led by the excellent Rios as the loving but frequently exasperated Dorothy, and each of the daughters well-cast. Especially notable is Riddle, who had script in hand while filling in as Rosalind, but managed to give a strong, convincing performance and fit well as a member of the onstage family. The performers also managed to make the offstage characters–Kevin and his son Matt, as well as the grandmother and her new husband–seem real despite their not physically appearing.  

The pacing is excellent, as well, and the set by Brittanie Gunn and Taylor Gruenloh is simple and effective. Erin Riley’s lighting also contributes to the atmosphere well. Although there may be a bit too much going on at times, this is a relatable, intriguing story that should appeal to audiences of various ages. It’s another strong entry in Tesseract’s increasingly memorable Summer New Play Festival. 

 

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Tesseract’s “Red Curtain Rivalry” is a Promising Theatrical Comedy

Posted in St Louis Theatre, tagged , , , , , on July 13, 2023| Leave a Comment »

Red Curtain Rivalry
by Amy Lytle
Directed by Chris Kernan
Tesseract Theatre Company
July 8, 2023

Alora Marguerite, Nic Tayborn, Chrissie Watkins, Beth Knocke
Photo by Taylor Gruenloh
Tesseract Theatre Company

The Tesseract Theatre Company’s Summer New Play Festival is back for 2023, starting off with a comedy that has a lot of potential. Red Curtain Rivalry has a premise that should be relatable to many who are involved in theatre, and it features some fun characters and situations. It’s not without its issues that need work, but for the most part, it makes for a fun evening of theatre “in-jokes” and humorous characterizations. 

The premise is that two community theatres in the same town–the Essence, led by director Yolanda (Dorothy LaBounty), and the W led by Gareth (Kurt Knoedelseder)–have discovered that they are both doing the same play at the same time. As the theatres are across the street from one another and are long-time rivals, drawing from the same pool of local actors, this scheduling creates a series of problems, and as the saying goes, hilarity ensues. The central figures are longtime best friends Ronnie (Luis Aguilar)–a veteran performer at both theatres–and Penelope (Chrisse Watkins), who has recently returned to town from New York City, and who hasn’t done theatre since high school. When Ronnie persuades Penelope to audition for both productions of A Doll’s House: The Musical, she finds herself cast in one production in the same role as former high school friend and community theatre diva Clarissa (Beth Knocke) in the other production. The directors, who notoriously hate each other, strike up an agreement about a competition of sorts among the productions,  expecting that the show’s licensing representative, Judy (Tammy O’Donnell) will be on board with their plan.  Then, rehearsals get going, including a series of complications involving personality conflicts, old grudges, and parental expectations as Clarissa’s father young daughter, Willow (Chloe Kurzym) is also cast along with her mother and grandfather, Herbert (Will Shaw); and exasperated single father Chester (Nic Tayborn) struggles to deal with his bratty, would-be prima donna daughter, Missy (Alora Marguerite). There’s also a running gag involving local prankster Arthur (Gerry Love), who is cast in one of the shows and who seems intent on causing as much chaos as possible. 

This play has a fun premise, with a good deal of humorous moments and some memorable characters, although there may be too many plots to keep track of efficiently. Also, the preponderance of plots leads to a “wrapping up the loose ends” conclusion that comes across as forced. Still, there’s a lot of potential here, and there are some strong performances, especially from Watkins as the reluctant but talented Penelope and Knocke, who brings a welcome degree of nuance to the initially insufferable Clarissa. Aguilar as the somewhat arrogant but well-meaning Ronnie, Love as the mischievous Arthur, and LaBounty and Knoedelseder as the battling directors also have some strong moments, as does Tayborn as Chester, and O’Donnell–who makes the most of a relatively small part as Judy. Kurzym and Marguerite are also credible as two very different young performers, and Shaw does what he can with a small role as Herbert. 

The staging lends much humor to the proceedings, with good pacing and inventive use of the red-curtain-lined set pieces that are used to fun comic effect, as well as near identical set pieces for the play-within-a-play scenes. The set is designed by Brittanie Gunn and Taylor Gruenloh, with lighting by Erin Riley. The technical aspects of the show are fairly basic, but they work well in terms of versatility and service to the plot.

Overall, Red Curtain Rivalry doesn’t do a lot that’s “new” in terms of comedies about theatre, but it’s a fun idea and the performances entertain. There’s a whole lot going on that could be streamlined, perhaps, and the ending needs some work. Still it’s an enjoyable show with an enthusiastic cast, and it’s sure to bring up some relatable memories to anyone who has been involved in community theatre. 

Luis Aguilar, Dorothy LaBounty
Photo by Taylor Gruenloh
Tesseract Theatre Company

Tesseract Theatre Company is presenting Red Curtain Rivalry at the Marcelle Theatre until July 16, 2023

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