Posts Tagged ‘the black rep’

The Black Rep is “Flyin’ West” For a Well-Cast Lesson in History, Family, Perseverence

Posted in St Louis Theatre, tagged , , , , , on March 22, 2026| Leave a Comment »

Flyin’ West
by Pearl Cleage
Directed by Jon Royal
The Black Rep
March 14, 2026

Margery Handy, Renee Lockett
Photo by VVH
The Black Rep

The Black Rep is shining the light on a lesser-known part of American history that deserves to be remembered with their production of Pearl Cleage’s Flyin’ West. Under the direction of Jon Royal, the show highlights a real town and moment in Black history while also focusing on the family dynamics of a group of sisters and their relations. Although the story itself has its predictable elements, the characters are memorable and well-drawn, especially as played by the excellent cast assembled for this well-realized production. 

The setting is a farmstead near the all-Black town of Nicodemus, Kansas, which is a real place that is now a National Historic Site.  The main focus is on three sisters who left Jim Crow-dominated Memphis, TN to settle out West and make a new life as landowners. The oldest, Sophie (Margery Handy) and middle sister Fannie (Jazzma Pryor) are living on the property while youngest sister Minnie (Christina Yancy) has been living in London with her ambitious writer husband, Frank (Aaron Allen).  Sophie is trying to help pass a bill that will discourage white land speculators from buying up the property in the area, while Fannie is hoping to write down stories of past struggles from their older neighbor, Miss Leah (Renee Lockett), while also entertaining a promising friendship with another neighbor, Wil (Reginald Parrish), who is clearly interested in Fannie. Meanwhile, Minnie’s 21st birthday brings a gift which she and Frank view with drastically different motivations, ultimately leading the sisters to a decision point and a challenge to their hopes and ambitions for the family and the town.

While the script itself is fairly predictable and the ending is a little too neat, the characters are expertly drawn and the relationships are entirely credible, especially as acted by the fantastic cast. The relationship between the sisters is the highlight, and all three performers make their characters distinct and believable, led by Handy in the fiercely determined turn as the strong-willed Sophie. There’s also a sweet connection between Pryor’s thoughtful Fannie and Wilson’s kindhearted Wil. That relationship serves as a contrast to the one between Yancy’s homesick Minnie and Allen’s troubled Frank. Lockett is also excellent as the cranky but endearing Leah. All of the various interactions and conflicts form the heart of this story, as do the underlying issues concerning how the characters and their situations have been affected by the oppressive society in which they were brought up.

The Black Rep is utilizing a new venue for this production, the Ross Family Theatre at the Kirkwood Performing Arts Center, which is perhaps most well known as the home of Stages St. Louis. The space works well for this show, with a more “up close and personal” audience setting than the company’s most frequent venue, Washington University’s Edison Theatre. The set by Chris Cumberbatch fits well on the stage, and depicts a well-realized cross section of the family’s home. It’s illuminated with clarity by means of Essie Claire Winston’s excellent lighting, adding much to the mood and period vibe, augmented by the sound design by Justin Schmitz. There’s also strong work from costume designer Michele Siler and props designer Mikhail Lynn, further contributing to the overall time and place of the story. 

Flyin’ West is a fascinating history lesson, with memorable characters and a convincing blend of humor and drama. It highlights a period in history that should be more well known, and serves also as a portrait of resilience, family loyalty, struggles with systemic oppression, and the persistent desire for freedom in all aspects of life. It’s another excellent production from the Black Rep. 

The Black Rep is presenting Flyin’ West at the Ross Family Theatre at the Kirkwood Performing Arts Center until March 29, 2026

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Music, Movement, and Empathy Feature Strongly in the Black Rep’s Well-Cast “Black Feminist Guide”

Posted in St Louis Theatre, tagged , , , , , on February 13, 2026| Leave a Comment »

The Black Feminist Guide to the Human Body
by Lisa B Thompson
Directed by Kathryn Ervin
The Black Rep
February 7, 2026

The Black Rep’s reputation for excellent, thought-provoking theatre continues with their latest production, the movement-and-music rich The Black Feminist Guide to the Human Body. I’m not sure exactly what I was expecting when I first went into this play, but the result was an immersive and intensive exercise in empathy, highlighted by well-paced staging and a strong cast. It’s a celebration of culture and humanity, and although it is aimed primarily at Black women and girls,  it features several subjects to which many in the audience will be able to relate regardless of background, as well as providing cultural insight and facilitating education and empathy. 

The story is really more of a presentation than a plot, as college professor Beatrice “Bea” Free (Velma Austin) works in her home office on a book she’s calling by the same name as the play. She is accompanied by two characters who represent aspects of herself–Cee (Janelle Grace), who represents the body, and Dee Dee (Ricki Franklin), who represents the soul, while Bea herself represents the mind. Bea’s presentation basically tells her own life story and experiences while also emphasizing the importance of various issues that confront Black women from childhood to adulthood, including physical health, dealing with prejudice and the treatment of the wider world, cultural development, and perhaps especially, aging and the issues that particularly effect Black women as they grow older. There are segments about body types, hair, secrets and forgiveness, healthcare challenges particular to Black women, and more. 

The form of the show is more like performance art, with dialogue augmented with dance sequences, recitations, and singing, covering various styles and formats. There’s even a degree of audience participation, as the performers invite viewers up to dance with them, and encourage Black women to contribute their stories on paper. It’s an engaging, entertaining, and heartfelt production, with much to think about and learn. The cast, led by the always excellent Black Rep veteran Austin as Bea, and with strong support from Franklin and Grace. All three work well as a team, carrying the story and message with energy and emotion. The musical elements and movement are also especially memorable, with strong work from composers Dr. Guthrie P. Ramsey and Wayv Wilson, and impressive choreography by Heather Beal.

The set by Reiko Huffman is striking and, along with Denisse Chavez’s lighting and Ahsa-Ti Nu’s sound design and props by Taijha Silas, helps set and maintain the mood and vibe of the story. There’s also fine work from costume designer Marissa Perry. 

Overall, The Black Feminist Guide to the Human Body is a fascinating, well-performed work that has much to say for Black women and girls, as well as others in the audience who will be given an insightful look into this specific perspective. It’s a celebration of culture and experience, as well as a lesson in empathy and understanding. It’s an intriguing and memorable evening of theatre. 

The Black Rep is presenting The Black Feminist Guide to the Human Body at Wash U’s A. E. Hotchner Studio Theatre until March 1, 2026

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The Black Rep’s “Dance on Widow’s Row” Entertains with Dark Comedy, Strong Cast

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

The Dance on Widow’s Row
by Samm-Art Williams
Directed by Ron Himes
The Black Rep
January 10, 2026

Velma Austin, Denise Thimes, Margery Handy, Tiffany Tenille
Photo: The Black Rep

The Black Rep is starting out the new year with dark comedy and a quartet of mysterious, scheming widows and their trepidatious suitors. Samm-Art Williams’s The Dance On Widow’s Row, directed by Ron Himes, explores relationships and aspirations with a sitcom-like flair and a memorable cast. Story and pacing-wise, it has its ups and downs, but this cast and crew make the most of the show and bring a host of larger-than-life characters and a great deal of laughter to the stage at WashU’s Edison Theatre.

The story follows four women who live on an upscale street in Port Town, NC nicknamed “Widow’s Row” by the locals because so many widowed women live there. The four featured here–led by the determined Magnolia (Denise Thimes)–have all been widowed at least once, and most more than once. Magnolia, twice widowed and looking for a new man, has invited her friends Simone (Velma Austin) and Lois (Margery Handy), and frenemy Annie (Tiffany Tenille) to a party at her home in which she has also invited some eligible local bachelors–Deacon Hudson (A.C. Smith), Newly Benson (Ron Himes, standing in for J. Samuel Davis), and Randolph Spears (Isaiah Di Lorenzo), with hopes of making romantic connections and also to dispel gossip and superstition that keeps men from wanting to date women who live on their street. All the women have their stories and secrets, with insinuations about what may or may not have happened to their late husbands, and the widows’ roles in those deaths. Also, the men have varying degrees of eagerness and/or fear in approaching the evening. The dynamics between the characters and the various clues as to underlying motives form the basis for much of the comedy.

The differing personalities also serve as a source for much of the humor, with the more sophisticated-minded Magnolia, the fame-focused actress Simone, the scheming Lois, and the initially stuffy, churchy Annie confide, clash, and conspire; while the optimistic Deacon, the nervous Newly, and the over-eager Randolph navigate their interactions with the various women. While the dialogue is sharp and well-structured, sometimes the timing seems a bit off, with beats between scenes being a bit longer than they should be, and some of the plot points can be a bit convoluted, but for the most part, it all plays out as some kind of fast-paced, ominously-toned sitcom, and all the players are on board with well-realized comic performances. 

Thimes, Austin, and Handy are an especially strong trio, as the bond between their characters is made obvious in their portrayals. They each display strong comic timing and memorable characterizations. Tenille also has some strong moments as the initially stuffy but surprising Annie, but also comes across as a bit young for the role. There are also fine performances from the men, with Smith as a suave, even-tempered Deacon–who has a strong connection with Magnolia; Di Lorenzo in a hilarious turn as Randolph; and Himes in an impressive role as a fill-in who comes across as if he were meant to play the role all along. There’s a great deal of energy and ensemble connection here, and all the performers display presence and commitment to their roles. 

The set by Tim Jones is richly appointed in keeping with the upper-class setting of the show, and the characters are all suitably outfitted by costume designer Brandin Vaughn in memorable garb that suits their personalities. There’s also fine work from lighting designer Sean Savoie and sound designer Kareem Deanes. It’s all in keeping with the general sitcom-like tone of the play.

Overall, The Dance on Widow’s Row is a lively way to continue the Black Rep’s season, and to start off the new year with a memorable, characterful vibe. It’s also a good showcase for some of the Black Rep’s “regular” performers. It’s a sharp and darkly humorous take on life, love, friendship and romantic competition. 

Denise Thimes, A.C. Smith
Photo: The Black Rep

The Black Rep is presenting The Dance on Widow’s Row at Washington University’s Edison Theatre until January 25, 2026

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Musical “Raisin” Highlights Important Themes, Strong Cast at the Black Rep

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

Raisin
Book by Robert Nemiroff and Charlotte Zaltzberg
Music by Judd Woldin, Lyrics by Robert Brittain
Adapted from Lorraine Hansberry’s A Raisin in the Sun
Directed by Ron Himes
Choreographed by Kirven Douthit-Boyd
The Black Rep
September 6, 2025

Duane Martin Foster, Adrianna Jones, Andrea Mouton
Photo by Keshon Campbell
The Black Rep

The first time I saw Lorraine Hansberry’s classic play A Raisin in the Sun was in a fantastic production at the Black Rep in 2014. Now, the celebrated company is revisiting the material in a different form with their new production of the 1973 Tony-winning musical version, Raisin. As is usual for this company, the resulting production is a thoughtful, well-cast show, and a promising start for a new season for the Black Rep.

If you’ve seen or read A Raisin in the Sun, you know the plot of Raisin, although there are a few changes, such as streamlining the story a bit, the removal of one character and the addition of one who is only mentioned in the earlier play. There’s also the expected singing and dancing ensemble, since it’s a musical. To a score that reflects the musical styles of the show’s early 1970s origins, the story plays out in what the program describes as early 1950’s Chicago, where the Younger family is dealing with various hopes, dreams, changes, and challenges. Matriarch Lena (Anita Michelle Jackson), a recent widow, is awaiting an insurance check from her late husband’s policy, which she hopes to use it to move the family from their too-small rented apartment into a bigger house in a nicer neighborhood. Her son, Walter Lee (Duane Martin Foster)–who is currently working as a chauffeur–is hoping he can convince his mother to let him use the money to invest in a new liquor store business with two of his buddies.  Meanwhile, his wife Ruth (Adrianna Jones) also wants more room and a promising future for their young son, Travis (Jaron Bentley). Meanwhile, Walter Lee’s younger sister, aspiring medical student Beneatha (Andrea Mouton) deals with differences in beliefs with her mother, as well as being encouraged to explore her African heritage by Nigerian student Joseph Asagai (Robert McNichols), who is also romantically interested in Beneatha. The main conflict, though, focuses on Walter’s dreams vs. Lena’s, as well as the challenges for the family amid racial prejudice in 1950’s Chicago, generational differences, and the changing values of the times.

This is an intriguing well-told story, and the songs fit well into the show, opening with an energetic ensemble dance number featuring the energetic, fluid choreography of Kirven Douthit-Boyd, and featuring some memorable musical moments throughout. The cast is excellent, as well, led by a tour-de-force performance by Jackson as the hopeful, caring Lena, who gets some excellent opportunities to show off her powerful singing voice. Foster is also strong as the insistent dreamer Walter Lee, displaying strong chemistry with Jones’s equally excellent Ruth. Mouton and McNichols make a sweet connection as Beneatha and Asagai, and there’s also a standout turn from young Bentley as Travis, who gets a few moments to shine musically as well. De-Rance Blaylock is also a standout in a smaller but memorable role as the Youngers’ neighbor Mrs. Johnson, and Will Bonfiglio also makes a memorable impression in a smaller role as a nervous representative of the currently all-white neighborhood the Youngers are planning to move to, offering them a deal that presents a dramatic dilemma. There’s a strong ensemble, as well, showing off strong singing and dancing ability as accompanied by the excellent band led by musical director/keyboardist Jermaine Manor. 

Visually, I did find myself not always able to tell what time the show was supposed to be set in, with the costumes by Gregory Horton being memorable but not always evocative of the early 1950’s. The set by Tim Jones is simple but effective, and Tony Anselmo’s lighting lends a dreamy tone to some moments while emphasizing realism in others as needed. The sound design by Kareem Deanes is good. but the acoustics in the Edison Theatre present the usual challenge and it’s not always easy to hear the singers over the music, and the pacing is excellent but there are occasional awkward transitions between scenes. 

Despite a few minor issues, though, Raisin is a fascinating, well-told story told by a truly fantastic cast. It’s an ideal showcase for the performers, both familiar and new, and an intriguing adaptation of a classic play with a memorable score. It’s an excellent season opener for the Black Rep, and it makes me even more eager to see what else they have in store.

Adrianna Jones, Jaron Bentley
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Raisin at Washington University’s Edison Theatre until September 21, 2025

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The Black Rep’s “Radio Golf” Features Strong Cast, Compelling Story

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

Radio Golf
by August Wilson
Directed by Jon Royal
The Black Rep
May 23, 2025

Reginald L. Wilson, Ronald L. Conner, Velma Austin
Photo by Keshon Campbell
The Black Rep

The Black Rep is one of the most consistently excellent theatre companies in St. Louis, and their latest production, August Wilson’s Radio Golf, is a remarkable example of that excellence. Directed by Jon Royal, Wilson’s insightful drama features a first-rate cast and an insightful, challenging script by one of America’s more celebrated playwrights. Even though it takes place in 1997, this story still resonates in a lot of areas of this country today. 

This is the final play in Wilson’s “Century Cycle”, which the Black Rep has now produced in its entirety twice over the years. Each play takes place in a different decade of the 20th Century, mostly in the Hill District of Pittsburgh, PA. Here, it’s 1997, and the neighborhood has been in a consistent period of decline. Real estate agent and aspiring mayoral candidate Harmond Wilks (Reginald L. Wilson) opens up an office in the area for Bedford Hills Redevelopment, Inc.–an organization he runs along with his wife Mame (Velma Austin) and college friend and banking executive Roosevelt Hicks (Ronald L. Conner).  The organization is planning to break ground soon on an ambitious residential and retail production with the aim of revitalizing the neighborhood, although that aim also requires the demolition of many of the existing structures in the area. Amid personal ambitions and goals for the neighborhood and city, the group is presented with a new obstacle in the form of Elder Joseph “Old Joe” Barlow (Ron Himes), who has apparently been bought out by the corporation but is still making efforts to paint and maintain his house, to the increasing consternation of Harmond and especially Roosevelt. Upon researching the matter, Harmond is increasingly troubled by what he finds concerning the legality of his company’s efforts to purchase the house. Longtime neighborhood resident Sterling Johnson (Kelvin Roston, Jr.)–who went to school with Harmond–supports Old Joe and organizes community protests to save the house. As the situation goes on, Harmond faces the dilemma of what to do and where his loyalties and sense of morality lie.

The play takes a personal look at real issues that still face American cities today, with older, declining, and largely Black neighborhoods seeking recovery, and debates about what true revitalization should look like, as corporate interests clash with the needs and desires of longtime community residents. Harmond, who grew up in the neighborhood and whose desire to “save” it seems genuine, is thrust into the center of the debate as his loyalties and goals are tested. It’s a fascinating play, with well-drawn characters who make a strong impression on the audience, especially as played by the excellent cast assembled here by director Royal. 

As Harmond, Wilson is an ideal protagonist, conveying real sympathy as well as a credible struggle as his goals, hopes, and plans are challenged. Wilson projects a realistic air of leadership and compassion that help make his dilemma believable. Wilson is supported by Austin in a credible turn as the increasingly conflicted Mame, who obviously loves Harmond but is increasingly confused by his actions and intentions. Conner, as Roosevelt, is also strong as the upwardly mobile, golf-loving Roosevelt, whose quest for corporate success provides a challenge to Harmond’s dilemma. There are also especially strong turns from Roston as the principled Sterling and especially Himes in a fantastic, scene-stealing performance as Old Joe, who becomes the emotional and moral heart of this show. 

The world and era of the play are well-realized by means of Jim Burwinkel’s well-appointed set and Mikhail Lynn’s excellent props. The costumes by Shevare Perry are detailed and suited to the period and characters, as well. There’s also fine work from lighting designer Jayson Lawshee and sound designer Justin Schmitz, helping to maintain a consistent atmosphere for the story.

The Black Rep does great work, and Radio Golf is an impressive example of a superlative theatrical tradition. It’s a compelling, still-relevant play by an important playwright, well cast and well staged. It speaks not only to the 1990’s, but also to today. 

Ron Himes
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Radio Golf at Washington University’s Edison Theatre until June 8, 2025

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“The Wash” is an Important Story Well-Told at the Black Rep

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

The Wash
by Kelundra Smith
Directed by Chris Anthony
The Black Rep
March 14, 2025

Velma Austin, Paulette Dawn
Photo by Keshon Campbell
The Black Rep

The Black Rep’s latest production is a fascinating new play that’s at once a history lesson and a riveting drama. Playwright Kelundra Smith’s The Wash is based on a real event that’s not as well-known as it probably should be. Featuring a strong cast and impressive production values, it highlights memorable characters and important issues in a way that is both historical and timely. 

Based on a real strike led by Black washerwomen in Atlanta in 1881, the story of The Wash starts out by evocatively showing the early morning routine of a group of women who work for Anna (Velma Austin), who owns her business. The rhythmic movements show the women at work highlighting the complexity and repetition of their daily jobs involving the hard work that laundering clothes entailed in the late 19th Century. The women come from a variety of backgrounds, ages, and family situations. Jeanie (Paulette Dawn) lives at the establishment and is Anna’s closest friend. She’s a widow hoping to be able to visit her new grandchild in New York state, and devoutly religious. There’s also younger married employees Charity (Joy Ike)–who is happy with her husband but hoping to have a child after a series of disappointments–and Thomasine or “Tommie” (Christina Yancy), who hopes for a better life for her children and endures an abusive marriage. There’s also Jewel, an unmarried student who seeks to fund her education and has some bold ideas. When the women find themselves unable to secure consistent pay for their work–laundering clothes for white families–they eventually organize and work to enlist the help of other Black washerwomen in the area, eventually drawing the attention of white washerwomen represented by Mozelle (Jennifer Theby-Quinn), who arouses suspicion among the others but has her own personal reasons for wanting to join the cause. 

Through the course of the story, we see the seeds of the movement grow and gather local and later national attention, as the story makes the papers and the women endure harassment by the authorities and local law enforcement. There are also interpersonal conflicts, as Tommie finds herself in a personal dilemma, Jewel and Jeanie deal with a difference in personal values, Anna and Charity face serious health issues as a result of the harassment, and Mozelle struggles to convince the others that she’s not a spy. It’s a show full of drama, insight, and a persistent tone of striving for better working conditions as well as aspirations for achieving their individual and family hopes and dreams. It’s a well-told story that’s well-paced, although there are a few moments of “telling” rather than “showing”. 

Director Chris Anthony has assembled a fantastic cast, led by a marvelous turn by Austin as the much-enduring Anna. Austin and the equally excellent Dawn portray a convincing strong friendship bond that forms the emotional heart of the show. There are also strong performances by Ike as the optimistic Charity, Yancy as the conflicted Tommie, Jay as the forward-thinking Jewel, and Theby-Quinn making the most of a smaller role as the persistent Mozelle.  It’s a strong ensemble with energy that drives the plot and mood of the show as the story plays out and the tension builds in a believable, attention-holding manner.

The look, sound, and atmosphere of the production are maintained convincingly by means of the marvelous production team. Dunsi Dai’s evocative set blends realism with abstraction, and the lighting by Jasmine Williams, projections by Kareem Deanes, and sound by Asha Ti-Nu expertly contribute to this overall poetic tone. There are also meticulously detailed costumes by Lou Bird, and memorable choreography by Heather Beal that adds to the overall musical sense of the show, even though it’s not a musical.

The Wash is an excellent example of a drama that teaches a historical lesson while also focusing on character and the timelessness of the message. It’s another example of the terrific casting and staging that the Black Rep is known for. If you haven’t heard of the subject of this play before, you know about it now, and this play has told a fascinating tale with an remarkable air of immediacy and importance. 

Cast of The Wash
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting The Wash at COCA’S Catherine B. Berges Theatre until March 30, 2025

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“Coconut Cake” Tells a Fascinating Character-Driven Story at the Black Rep

Posted in St Louis Theatre, tagged , , , , , on February 21, 2025| Leave a Comment »

Coconut Cake
by Melda Beaty
Directed by Geovonday Jones
The Black Rep
February 14, 2025

Richard Harris, Richard E. Waits, Joe Hanrahan, Duane Foster
Photo by Keshon Campbell
The Black Rep

The Black Rep’s current production, Melda Beaty’s Coconut Cake, is a character-driven showcase for its performers. It’s almost deceptively simple at first, while ultimately revealing itself to be much more complex as the story plays out. With effective staging and an excellent cast of five, this play holds attention from start to finish with its intriguing tale of aging, regret, conflict, and redemption. 

The story has a somewhat unexpected setting–a McDonald’s in Chicago, circa 2010. The fast food restaurant is the setting for a weekly gathering of a group of four men of distinctly different personalities and views of life an relationships. Church deacon Marty (Richard E. Waits) plays chess with Hank (Joe Hanrahan), who was married to Marty’s sister until she died the previous year. Eddie (Duane Foster) seeks out Marty’s help in a conflict with his unseen wife, and Eddie’s longtime friend Joe (Richard Harris)–a real estate developer–stresses about his projects and tenants, and brags about his many relationships with women. The four men swap stories about their lives and about their relationships with women–wives, girlfriends, daughters–even regularly ogling an unseen woman who regularly passes by the McDonald’s every week on her way to work. The fifth member of the cast is a man most of the others refer to as “Gotdamnit”–who appears to not have a permanent home and who they criticize for apparently bothering the woman who passes by. They also trade gossip about one of Joe’s new tenants–a woman who attracts the amorous interests of several men in the area. Through the course of the show, personalities conflicts come to the forefront and long-held secrets are revealed, as some characters are forced to reckon with past regrets and present conflicts. 

I don’t want to give away too much, because the gradual unfolding of this story is part of what makes it so powerful. The performances are especially strong from all the players, with Waits and Foster in memorable turns as the “voice of reason” Marty and the conflicted Eddie. Harris, as the outspoken Joe, and Hanrahan as the more softspoken Hank, are also excellent, and Evans is a revelation as the mysterious “Gotdamnit”, whose cryptic messages about life and chess prove to mean more than they first seem to. It’s a first-rate ensemble, well directed and paced by director Geovonday Jones, bringing out every ounce of humor and drama in the intriguing, if possibly a little overlong, script. 

The set by Tammy Honesty is an effective representation of the seating area of a McDonald’s restaurant, which works as a suitable background for the action of the play. Tony Anselmo’s lighting adds a convincing sense of realism and occasional mystery to the action, and there’s also excellent work from Alan Phillips on sound. Brandin Vaughn’s costumes are also strong, suiting the characters and the time period well. 

I didn’t entirely know what to expect when going into this show, and it has turned out to be a welcome surprise. With a strong message and palpable sense of drama balanced with humor, this is a memorable look at these five characters’ struggles, conflicts, and aspirations. It’s another example of  excellence from one of St. Louis’s most consistently strong theatre companies. 

Lawrence Evans, Joe Hanrahan
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Coconut Cake at Washington University’s A. E. Hotchner Studio Theatre until March 2, 2025

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Strong Cast Dishes out Lively Relationship Comedy in the Black Rep’s “Chicken and Biscuits”

Posted in St Louis Theatre, tagged , , , , , , on January 15, 2025| Leave a Comment »

Chicken and Biscuits
by Douglas Lyons
Directed by Ron Himes
The Black Rep
January 11, 2025

Cast of Chicken and Biscuits
Photo by Keshon Campbell
The Black Rep

Comedy and awkward family dynamics are on the menu in the Black Rep’s newest production, Chicken and Biscuits by Douglas Lyons, directed by Ron Himes. There are tensions between siblings, parents and children, and hidden secrets are exposed, and it all happens at a funeral. It’s an ideally cast show with a brisk pace and many memorable moments, and lots of laugh-out-loud comedy even considering the setting.

The program for the performance also includes a funeral program remembering Bernard Jenkins, the recently deceased pastor of the church in New Haven, CT that is now being pastored by his son-in-law, Reginald Mabry (A.C. Green), who is married to Bernard’s eldest daughter, the somewhat strait-laced Baneatta (Denise Thimes), who is anxious about the funeral for several reasons, and who has had a strained relationship with her more unconventional sister, Beverly (Paulette Dawn), who is attending the funeral with her fame-seeking teenage daughter, aspiring rapper La’Trice (Kaylyn McKoy). The sisters and their children haven’t seen each other since their mother’s funeral a decade ago, and old resentments linger, as newer ones also continue involving Baneatta’s adult children Kenny (Cameron Jamarr Davis) and Simone (Alex Jay). Kenny’s long-term boyfriend Logan (Jacob Schmidt)–who is white and Jewish–feels out of place for various reasons, especially since Baneatta hasn’t accepted his relationship with Kenny and seems to deliberately get his name wrong. Meanwhile, Reginald is nervous about giving the eulogy for his much-lauded and loved father-in-law, who was also his mentor. Much hilarity ensues as personalities clash, tensions threaten to boil over, and a latecomer to the proceedings, Brianna (Delisa Richardson) arrives with a surprising secret of her own. 

This show manages to be both an intriguing relationship story and a fast-paced comedy at the same time, with moments of poignancy to punctuate the humor, and some fun staging moments involving music and movement reminiscent of a music video or TV show montage. The sound design by Kareem Deanes adds much to the atmosphere, as does Ethan Steimel’s lighting,  along with Andre Harrington’s detailed costume design, Mikhail Lynn’s props and Tim Jones’s versatile set. Director Himes has paced the show just right, as well, with all elements blending together into the right combination of humor, heart, pandemonium, and eventually a strong dose of hope. 

There’s a great cast here, led by Thimes as the particular, somewhat controlling Baneatta, who can be difficult at times, but Thimes manages to bring sympathy to her situation and a great deal of presence. As the more outspoken sister, Beverly, Paulette Dawn is a delight, bringing a good deal of energy and comic timing to the role, and the two are believable as sisters who frequently clash, but ultimately seem to want their relationship to work. There’s also excellent work from McKoy as the somewhat brash young La’Trice, Jay as the unhappily single Simone, Davis as the determined, creative Kenny, and Schmidt as the perpetually anxious but kind-hearted Logan. Smith is also strong as Reginald, who often gets to be the calm one amidst the chaos, and a uniting voice in the midst of the tension. Richardson also turns in a fine performance as the mysterious Brianna. It’s a strong cast all around, with excellent chemistry and timing that drives both the humor and makes the relationships compelling. 

This is a fun, fast-paced, fascinating play, exploring family drama that many audience members will be able to relate to, while also presenting a specific cultural setting with vivid detail. The characters are well-drawn, and even the unseen, late pastor Bernard is a fully realized character. Chicken and Biscuits is a lively start for the new year at the Black Rep, paving the way for a promising slate of shows in the rest of the season.

Paulette Dawn, Cameron Jamarr Davis, Jacob Schmidt, Denise Thimes
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Chicken and Biscuits at Washington University’s Edison Theatre until January 26, 2025

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Stellar Cast Sings Melodic “Blues in the Night” at the Black Rep

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

Blues in the Night
by Sheldon Epps
Directed by Ron Himes
Choreographed by Heather Beal
The Black Rep
September 18, 2024

De-Rance Blaylock, Adrianna Jones, Amber Alexandria Rose
Photo by Keshon Campbell
The Black Rep

The Black Rep’s introduction to their 2023-2024 season is a tuneful revue that showcases the impressive musical abilities of the cast, music director, and band. With a title like Blues in the Night, the show’s atmosphere and genre are made clear, as the alternately sultry, smooth, and yearning sounds of blues and jazz classics inform the 1930s setting and mood in this production that is more about sound, mood, and culture than plot. 

According to the program, the setting is Chicago in the late 1930s. The location is a rooming house or hotel, with three neighboring residents billed as The Lady (De-Rance Blaylock), The Woman (Adrianna Jones), and The Girl (Amber Alexandria Rose). While there isn’t any real dialogue, there is a bit of narration by The Lady, as she introduces her neighbors and their situations. She herself is a veteran stage performer at the twilight of her career, reveling in memories of the past, while The Woman is elegant and stylish but lonely, while The Girl is younger and less experienced in life, eager to experience the joys of romance. Meanwhile, The Man (J. Samuel Davis) hovers around the scene, commenting on the state of the women’s situations while trying to pursue some romantic action of his own. The general themes featured in the classic blues songs are highlighted throughout the evening–of lonely but still hopeful women, rakish and irresponsible men, and the various struggles in the relationships between men and women. There’s an overall “nightclub” atmosphere as well, represented by a bar and the house band, with whom the various performers interact from time to time, which adds to the overall jazzy and bluesy mood of the show.

The “Night” part of the title is represented in the music, but also in the production values, from the well-appointed set by Jamie Bullins, to the detailed costumes by Gregory J. Horton, and especially the evocative lighting by Travis Richardson, emphasizing tones of blue, red, and purple. The sound by Justin Schmitz and the lively band led by music director and pianist Khalid McGee add much to the overall quality of the show, delivering tune after tune in style and working well with the singers. There are also fun moments of smooth and energetic choreography by Heather Beal, danced especially well by Jones and Davis.

As for the singers, they are nothing short of spectacular, delivering all the emotion and musicality of the blues and jazz numbers, as well as presenting strongly realized characters through song. Blaylock has quickly become one of my favorite singers in the St. Louis theatre scene, and she doesn’t disappoint here, delivering some powerful numbers displaying her full range and vocal control, with moments of wit as well as intense emotion. Jones and Rose are also excellent, with Jones especially displaying strong dance ability along with impressive vocals, and Rose having some strong emotional moments as well. The always excellent Davis lends strong support as the smooth-talking, charming and scheming Man. The harmonies between the performers in the group numbers are also especially memorable, particularly when all three women sing together. 

Overall, even though there isn’t really a story here, Blues in the Night is an entertaining experience. If you love the blues and jazz music of the first half of the 20th Century, and if you are looking for an immersive, atmospheric musical experience, this is a show that’s sure to entertain.  It’s another example of theatrical excellence from the Black Rep.

De-Rance Blaylock, J. Samuel Davis
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Blues in the Night at Washington University’s Edison Theatre until September 29, 2024

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The Black Rep’s Memorable “King Hedley II” Explores Ambition, Legacy with Profound Emotion

Posted in St Louis Theatre, tagged , , , , , , on June 26, 2024| Leave a Comment »

King Hedley II
by August Wilson
Directed by Ron Himes
The Black Rep
June 21, 2024

Geovonday Jones, Karamuu’ Kush, A. C. Smith, J. Samuel Davis
Photo by Keshon Campbell
The Black Rep

The Black Rep is closing out its season with a memorable production of August Wilson’s King Hedley II. As part of a well-known cycle of plays, each one set in a different decade of the 20th Century–mostly in Pittsburgh’s Hill District–this play takes the audience to a backyard in that neighborhood in 1985. With a strong cast and excellent production values, it’s an impressively realized staging that explores a variety of issues in the lives of its characters and the world around them.

While many of the plays in Wilson’s cycle are connected through themes and (mostly) off-stage characters, King Hedley II is even more directly related to one of the previous plays, Seven Guitars, which the Black Rep last staged in 2017. The play’s title character, King Hedley II (Karamuu’ Kush) is named for a character in the previous play, and other characters from that play appear in this one, while others are mentioned, and some are relatives of previous characters. The sense of the passage of time, progress (or lack thereof), and the concepts of ambition and carrying on a legacy are emphasized by the connection to the earlier plot and characters.

In this play, King Hedley II has been recently released from prison, and wants to make a new life for himself and his wife, Tonya (Alex Jay) by opening a video store with his friend Mister (Geovonday Jones). They are raising the money by selling refrigerators, but they are evasive as to the appliances’ origin and storage location. King also reckons with his past, as the cousin of the man he killed is apparently out for revenge, and his mother Ruby (Denise Thimes) deals with her own past, as the reappearance of her old paramour Elmore (J. Samuel Davis) reminds her of past regrets and tragedies, as well as a long-held secret she is keeping from King. Meanwhile, there is the neighbor known as Stool Pigeon (A.C. Smith), who acts as something of a prophetic figure, promising a future apocalyptic event, hoarding newspapers, and indulging in cryptic rituals that threaten to disturb King’s newly planted flower seeds in a patch of backyard dirt. There’s a good deal of symbolism, as well as well-drawn characters and a sense of striving and persistence amid adversity that characterizes this story, even to the point of potential self-destruction. It’s a profound, incisive, insightful look at a group of characters and their overall situation in life, as well as a more overarching examination of the hopes, dreams, and struggles of Black Americans in the city in the 1980’s. 

The characters are memorable and especially well-portrayed by an excellent cast, led by Kush in a commanding performance as the stubbornly ambitious King Hedley II. Kush has a strong stage presence, making the rest of the characters’ emotional connection to him especially credible. There’s also a strong turn from Thimes as the once-promising young singer Ruby, who is now older and full of regrets while still hoping for a better life for her son and a better relationship with him. Davis, as the smooth-talking gambler Elmore, is also impressive, as is Smith as the insistently prophetic Stool Pigeon. Jones as Mister and Jay as Tonya are also memorable, rounding out the first-rate ensemble cast that drives the plot and themes of this story with energy and strong emotion.

Visually, the show is nothing short of stunning in its realization, with a detailed set by Timothy Jones that transports the audience to a specific time and place, with strong support from Mikhail Lynn’s props. The costumes by Kristie Chiyere Osi are well-suited to the characters, adding to the overall atmosphere of the show. There’s also excellent work from lighting designer Travis Richardson and sound designer Alan Phillips, bringing the world of the play to life with a vivid sense of atmosphere and mood.

King Hedley II, as staged at the Black Rep, is a profoundly affecting tale of persistence, legacy, tragedy, and stubborn hope. Its blend of stark realism and fantastical symbolism is memorable, as is the strong casting and excellent pacing. It’s a memorable work from one of the best playwrights of the 20th Century, and another strong production from the Black Rep.

Denise Thimes, Alex Jay, Karamuu’ Kush
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting King Hedley II at Washington University’s Edison Theatre until July 14, 2024

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