Posts Tagged ‘the midnight company’

Midnight’s Engagingi “Wakey Wakey” Features Strong, Thoughtful Performances

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

Wakey Wakey
by Will Eno
Directed by Ellie Schwetye
The Midnight Company
July 16, 2026

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company’s latest production is a short but thoughtfully staged intimate look at one characters ponderings on life and mortality. Starring Midnight’s artistic director Joe Hanrahan and directed by Ellie Schwetye, this is a show that doesn’t really have a plot, but there’s a lot to think about. It’s also clever in its use of audience interaction. 

Hanrahan’s character is billed as “Guy”, and it’s not entirely clear if that’s his name or a generic description. The truth is, he doesn’t need a name, since many of his reflections are universal and can apply to almost anyone. He starts the show sleeping in a wheelchair, and when he wakes up he isn’t entirely sure it’s time to start his presentation. He then proceeds to go through a series of reflections and questions about life and what it means, including remembering important events and people, and challenging the audience to do the same. Late in the show, as Guy has become a little more agitated, Rachel Hanks appears as Lisa, a calming presence who states that she’s there to help. As the play winds down, it soon becomes more clear what’s going on, but I won’t spoil that part.

Hanrahan is the show, essentially. His characterization is likable and engaging, if a little mixed up at times, and his interactions with the audience seem natural and engaging. He easily carries the majority of the show’s approximately one hour running time, aided by some fun projections designed by Zac Grimm. Hanks is also excellent, adding to the drama and working well with Hanrahan’s character. There’s also excellent work from director and sound designer Schwetye, lighting designer Tony Anselmo, and costume designer Liz Henning to help set and maintain the contemplative mood of the show. 

Wakey Wakey is like a conversation and a thought exercise rolled into one. Its focus on one relatable central character–with eventual help from another, calming presence–makes it fascinating. It works especially well in the small space at the Chapel. It’s not a long play, but there’s a lot to think about here, and while there is some humor, for the most part its a solemn reflection. If you’re up for examining life and mortality, and experiencing some excellent performances, it’s worth checking out.

Rachel Hanks, Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting Wakey Wakey at the Chapel until August 1

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Midnight’s “St. Nicholas” is a Fascinating Acting Showcase and Exploration of Conscience and Humanity

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

St. Nicholas
by Conor McPherson
Directed by Bradley Rohlf
The Midnight Company
October 2, 2025

The Midnight Company’s latest show is a familiar one in a few ways for Artistic Director/star Joe Hanrahan. Not only is it the format the Midnight is most well-known for, it’s also Hanrahan’s forte–the one-man show. Also, the show in question, St. Nicholas by Conor McPherson, is one Hanrahan has performed before on a few separate occasions, although this is my first experience with it. I may have avoided it before because it’s essentially about vampires, which I mentioned before are not among my favorite subjects for stories. Still, seeing Hanahan–under the direction of Bradley Rohlf–acting out McPherson’s quirky but insightful story makes me almost forget I don’t usually love vampire stories. Because this one is more than a simple vampire story. It’s also about theatre critics, about conscience, and about the experience of humanity itself.

As with a lot of one-person shows, and especially the ones Hanrahan chooses to perform, the tone is essentially conversational. A man–here an unnamed Dublin-based theatre critic–is telling his story. He’s up front about the fact that this story involves vampires, but he’s also careful to say that these vampires aren’t like the ones in the movies. Still, although the critic starts out with that announcement, it takes him a while to get to the “vampire” part of the story, at least in the literal sense.  What becomes clear, though, as he gets into the first part of the story, is that this is a story about two kinds of “vampires”, it seems, as the critic himself tells about his job and his life, and his pursuit of notoriety at the expense of others, as well as his growing obsession with a young actress named Helen, who he first encounters while attending a show in which she stars. The way he talks about his life, and his regrets regarding his family, and his obsession with Helen and her company, to the point in which he lies about the nature of his review to impress them and eventually follows them to London, makes it clear that the critic himself is, in a way, a vampire, trying to satisfy his “hunger” at the expense of others. 

That’s just Act One, however, which ends with the critic finally meeting his first “real” vampire, whose name is William. After first encountering William in a London park, he finds himself drawn to follow him, and to be employed by William and his vampire roommates as a procurer of young people to invite to their house parties, in which the vampires will indulge their own appetites. Meanwhile, the critic gets to know William better, and finds what he defines as the key difference between vampires and humans. He also starts to grow tired of the vampires as he continues his nightly missions to round up party guests, which eventually presents him with a personal dilemma as it inevitably brings his story full-circle, forcing him to come to a reckoning not only with the vampires, but with himself. 

Hanrahan is an expert storyteller, and this show plays to his strengths, as it’s a somewhat talky show but never gets boring as Hanrahan keeps it compelling with his characterizations of the critic, and occasional other characters–especially William. Hanrahan’s energy and stage presence lends much drama and interest to this intriguing tale, even though his Irish accent is hit-or-miss, although that’s a minor quibble. 

The story itself is well-paced and fits well in the simple space at Greenfinch Theater & Dive. There’s no set to speak of–just a chair that Hanrahan pulls out of the audience at one point, and he’s dressed in a simple suit that fits his character. The mood and suspense are maintained by means of Hanrahan’s characterization coupled with effective sound and lighting design by director Rohlf.

The story is not as spooky as I had been expecting, but as far as I’m concerned, that’s a good thing. It’s something of a “grounded” vampire tale that never makes it clear if the story is real or a fantasy. What it does do, quite successfully, is present the vampires as an effective contrast to the initially amoral and guilt-ridden theatre critic. The idea of theatre criticism as a form of “power” is also brought up, and that presents a valid source of reflection for critics in the real world who seek to do their jobs with enthusiasm and integrity. 

It’s an entertaining show, if not very long, although it provides a lot to think about. With another fine performance from Hanrahan, St. Nicholas also works as a fitting “Halloween” show for the season, although not exactly in the conventional sense. It’s about humanity, and also about theatre, which is always an intriguing subject for critics and non-critics alike. It’s only playing this weekend, and it’s certainly worth checking out.

The Midnight Company is presenting St. Nicholas at the Greenfinch Theater & Dive until October 5, 2025

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Midnight’s Well-Cast “Pride and Joy” Features Family Struggles, Sitcom Style

Posted in St Louis Theatre, tagged , , , , , on July 13, 2025| 1 Comment »

Pride and Joy
by Colin McLaughlin
Directed by Carl Overly Jr.
The Midnight Company
July 10, 2025

Joe Hanrahan, Lavonne Byers, Alicen Moser
Photo by Kristina Schall DeYong
The Midnight Company

The Midnight Company’s latest production is a new play that’s also something of a throwback. Deliberately styled in the form of a classic sitcom, Colin McLaughlin’s Pride and Joy is a comedy about a family with a lot of drama, kind of like a “Very Special Episode”. As directed by Carl Overly Jr. and featuring a first-rate cast of local performers, it’s a show that brings lots of laughs and a credible portrayal of a family with a lot of issues to work out. 

The sitcom elements are obvious before the play even starts, as the audience is treated to a playlist of famous themes from classics like Friends, The Jeffersons, The Office, Cheers, and more, and the well-appointed set by Chuck Winning brings to mind a classic sitcom living room setup. As the show gets going, more of these elements become apparent, including “commercial breaks” and bumper music. The pacing is sitcom-like, as well, although the runtime is longer than the average sitcom at roughly 80 minutes. It somewhat calls to mind one of those “Very Special Episodes” of classic comedy shows, when a serious issue is brought up, although the tone here is, for the most part, kept relatively light.

The story follows the Moran Family–parents Michael (Joe Hanrahan) and Mary (Lavonne Byers), and their adult children Jay (Jayson Heil), Sam (Sarah Lantsberger), and Maggie (Alicen Moser). The action takes place at Sam’s apartment, as the rest of family arrives having been called there for a “Family Intervention”, although Sam is late and everyone else is left to try to figure out who the intervention is for. After a while, Sam arrives and the goal of the evening is made more clear, but even though there is a stated “target” for the intervention, a lot of issues get brought up, and every character gets their moments to fess up about various issues, including Jay’s self-professed “assholery”, Mary’s focus on others to the perceived neglect of herself, Maggie’s fondness for weed, Michael’s on-and-off issues with drinking, and Sam’s own issues that she reveals in the course of the intervention, which tie into her relationship with her family. It’s a quick-witted, characterful show with a good deal of genuine laughs and moments of drama peppered in for good measure.

The characters are well-drawn and expertly played, led by Lantsberger in a well-measured performance as the well-meaning but occasionally controlling Sam, and Byers as the motherly, longsuffering Mary, who gets some of the best dramatic moments in the show. There’s also excellent work from Hanrahan as the reluctant Michael, Heil as the outspoken Jay, and Moser as the somewhat mischievous Maggie. The give-and-take in the conversations and the undercurrent of genuine care in the midst of the bickering is well done and expertly paced, making the most of the sitcom format and providing much to think about and relate to, as well as laugh about. 

There’s also notable work from lighting designer Tony Anselmo and costume designer Liz Henning, as all the elements of the show work together to give the audience a funny, thoughtful look at a dysfunctional family that tries hard to function better. The enthusiastic laughter of the audience also adds to the overall sitcom vibe. Pride and Joy is an intriguing, funny new play that provides the classic TV experience with the bonus of live theatre energy. 

Jayson Heil, Sarah Lantsberger, Lavonne Byers, Alicen Moser
Photo by Kristina Schall DeYong
The Midnight Company

The Midnight Company is presenting Pride & Joy at The Chapel until July 26, 2025

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Midnight Company Entertains with Tuneful “Final Dress”

Posted in St Louis Theatre, tagged , , , , , on October 23, 2024| Leave a Comment »

Final Dress
by Joe Hanrahan
Directed by Joe Hanrahan
The Midnight Company
October 11, 2024

Kelly Howe, Paul Cereghino
Photo By Todd Davis
The Midnight Company

Joe Hanrahan and The Midnight Company have continued in their new venture into cabaret-theatre hybrid shows, with their latest, Final Dress, striking just the right balance between those two art forms. Featuring Hanrahan and frequent headliner Kelly Howe, along with strong support from actor and musician Paul Cereghino, this show manages to tell a clear and coherent story while highlighting some (mostly) well-known songs from various eras and genres. 

The unfortunate aspect of this production is that its run–at Greenfinch Theater & Dive earlier this month–was entirely too short. It could use a revival, however, since I think so far, this has been the company’s most successful effort at staging a show that has cabaret elements, but genuinely seems like a play. It’s not a super deep story, but it’s an engaging one, as singer Betty (Howe) and her collaborator/accompanist Jimmy (Cereghino) rehearse for Betty’s new show the following evening, and the two share a believable, friendly rapport with a credible sense of musicality that highlights strong vocals from Howe and strong playing and vocals form Cereghino. The two performers are soon surprised by Harvey (Hanrahan), who calls Betty by a different name and seems to know her from a previous time when she was a more active performer back East. His approach is somewhat laid-back, but mildly threatening all the same, and soon it seems like Betty is essentially singing for her life, although the tone of the show doesn’t quite get as ominous as Harvey seems to imply. 

It’s an entertaining show, highlighting music from different times and styles, including songs made famous by Frank Sinatra, Judy Garland, Carole King, Barbra Streisand, Amy Winehouse, Alanis Morrissette, and more. Howe’s voice is memorable and impressively versatile, and she has strong stage presence as well. Cereghino is affable and musically proficient as Jimmy, and Hanrahan has a slight air of menace as Harvey, but manages to be engaging as well, also performing a pleasant Jimmy Durante-like rendition of the  classic “One for My Baby (and One More for the Road)”, which is perhaps best-known for Sinatra’s version. 

The setting is intimate, with just the three players, a piano, microphones, and some chairs. There’s a little in the way of “stage business” and one costume change, but this is a story simply told, and well-sung and performed. Aside from one song which I found to be dated and awkward, the repertoire is memorable and works well with the story, although it could be beefed up a bit and the stakes raised somewhat, since the “threat” never seems all that serious. As Hanrahan and Howe have also done with their Linda Ronstadt tribute show Just One Look, I hope they find more times and places to perform this piece. It’s worth seeing by more than just a few patrons over a few days. 

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Midnight’s Enigmatic “Old Times” Features Strong Cast and Direction

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

Old Times
by Harold Pinter
Directed by Sarah Lynne Holt
The Midnight Company
July 11, 2024

Kelly Howe, Joe Hanrahan, Colleen Backer
Photo by Joey Rumpell
The Midnight Company

Theatre comes in all types and styles, from light and entertaining to more intellectually challenging; from straightforward in story to more obscure. Harold Pinter’s Old Times is not one of those more obscure, challenging shows. It’s one of those plays you can write academic essays about, or debate interpretations of while still not being entirely sure what’s going on. It also doesn’t have much in the way of action, consisting mainly of conversation and reflection. This complex, fascinating, unsettling show is the latest production from The Midnight Company, currently being staged at The Chapel with deliberately paced, thoughtful direction, and a cast that is giving their all. 

Old Times is characterized as one of Pinter’s “memory plays”, and the concept of memory looms large, since much of the “action” is driven by recollection and reflection of things that supposedly happened twenty years before. As the play begins, married couple Kate (Colleen Backer) and Deeley (Joe Hanrahan) are recalling Kate’s old friend Anna (Kelly Howe), who is due to visit soon after an absence of many years, since Anna has apparently been living abroad. Much is said concerning the contrasting personalities of the two women–the more reserved, isolated Kate and the more outgoing, fun-loving Anna. Deeley claims to never have met Anna, but that claim is called into question later after Anna arrives. There’s a lot of talking and “remembering”–discussing various events such as Anna’s and Kate’s exploits attending various events in London, and Deeley’s first meeting and developing relationship with Kate. There are several recurring themes, and various events and situations are brought up repeatedly, and the tension among the three becomes more palpable and disturbing, leading to a somewhat ambiguous ending that can be interpreted a few different ways.

That’s about all I can say about the plot without spoiling, but I will say that this is an especially talky play, and it requires full attention to follow the recurring themes and try to figure out what exactly is going on. The characters are an enigma, and they aren’t easily likable. The story seems more to be an exploration of the various personalities and power balances in the relationships. It’s Pinter at his most obscure, and it could easily come across as detached and boring if not paced or performed well. Kudos for this production go to director Sarah Lynne Holt and the cast for deliberately measured, well thought-out staging and performances, with as much being communicated in the silences between words as in the lines themselves.

The three performers work together well, with a palpable awkwardness and tension that grows throughout the production, and well-defined portrayals of the characters.  Kate is perhaps the most enigmatic character, and Backer’s performance highlights a calculated aloofness and underlying reflectiveness. Howe, as the more talkative, outgoing Anna, imbues her characterization with a sense of insistent ingratiation, and Hanrahan’s Deeley has an air of self-aggrandizement and objectification. The three play off of one another with convincing chemistry, lending energy to the proceedings even when its degree of verbosity threatens to veer into the overly obtuse. 

The look and atmosphere of this production is augmented by a strong sense of aesthetic, with Chuck Winning’s simple but effective set and Kayla Dressman’s well-suited costume design help set the scene and mood well. There’s also excellent lighting from Tony Anselmo and a memorable use of music in between scenes. 

Overall, this might not be a show for all audiences, considering its enigmatic, talky nature, but as staged by The Midnight Company, Old Times provides much food for thought, with a well-measured tension and strong performances. It’s Pinter, so it’s going to be odd, but it’s odd in an intriguing way. It’s a short play, even with an intermission, but there’s a lot to be said here, and in the hands of a talented director and cast, it’s worth a look, a listen, and a whole lot of thought. 

Kelly Howe, Colleen Backer, Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting Old Times at The Chapel until July 27, 2024

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Cleverly Staged “Spirits to Enforce” is a Tempest of Fun from The Midnight Company

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

Spirits to Enforce
by Mickle Maher
Directed by Lucy Cashion
The Midnight Company
May 3, 2024

Cast of Spirits to Enforce
Photo by Joey Rumpell
The Midnight Company

Do you like Shakespeare and superheroes? Do you also like offbeat comedy with memorable character?  Well, if you answered “yes” to all of those questions, The Midnight Company has the show for you. Mickle Maher’s Spirits to Enforce is a hilarious, characterful mashup of Shakespeare’s The Tempest and a host of comic book tropes all put together in a cleverly staged, terrifically cast, and thoroughly entertaining production that packs a lot of energy and laughs into its relatively short running time.

The basic premise here is that a superhero group is raising money to put on a play. The Fathom Town Enforcers have just vanquished their arch enemy, Professor Cannibal, who has been jailed, and the town is, at last, at peace. At least, that’s what the Enforcers think. Now, in their underwater submarine base, they sit at a long table at old school landline phones, complete with long, tangly cords, calling up potential donors to fund their production of The Tempest. Their appeals seem to fall on skeptical ears, and they resort to tactics such as revealing their secret identities as an incentive to contribute. They also start rehearsals and the tensions and struggles among the group become obvious, as Emory Lawson/Ariel (Will Bonfiglio)–who may actually be the “real” Ariel of Tempest fame–struggles to figure out how to successfully play himself, Randall James/The Tune (Cassidy Flynn) becomes frustrated that his crush and romantic interest in the play (she’s Miranda to his Ferdinand), Susan Tanner/Memory Lass (Rachel Tibbetts) has memory powers but can’t seem to remember his real name. Meanwhile, Donna Blake/The Bad Map (Kayla Bush) keeps getting lost, Donna Adams/The Silhouette (Miranda Jagels Felix) deals with her living hand shadows getting out of hand, while the rest of cast all have their own unique problems contributing to difficulty in mounting the production, as well as continued trouble with the phone calls and their callers’ concern that Professor Cannibal may be on the loose once again. 

The cast also features Joe Hanrahan as Wayne Simon/The Untangler, Celeste Gardner as Oliver Kendall/Fragrance Fellow, Spencer Lawton as Dale Clark/the Intoxicator, Ross Rubright as Craig Cale/The Pleaser, Ash Arora as Rebecca Lloyd/The Ocean, Joey Taylor as Brad Allen/The Snow Heavy Branch (who is also the show’s musician), and Alicen Moser as Cecily Gray/The Page, who plays Prospero in The Tempest. The whole cast is cohesive and energetic, with strong comic timing and appropriately quirky characters and angsty moments as the story builds to a fun conclusion. It’s difficult to single out individual cast members, because everyone is strong, lending much character and enthusiasm to the proceedings that can get a little overly talky at times, but still hold the audience’s attention and provide for a witty, goofy, and literate production full of memorable performances and moments.

The staging is inventive and engaging despite the fact that the cast members spend most of their time seated at a long table. There’s enough “business” for them to do, as well as some creative staging that highlights their tight quarters and those ever-present tangly phone cords that keeps the interest going. The costume design by Liz Henning and Eric Widner is marvelous, as well, suiting the offbeat superhero characters with the right amount of style and quirky charm. Jayson Lawshee’s lighting also contributes well to the overall atmosphere and growing air of urgency as the story unfolds, and Taylor’s music adds a memorable soundtrack to the proceedings.

If you like offbeat superhero stories (think Dr. Horrible’s Sing-Along Blog, among others) and Shakespeare, Spirits to Enforce should be right up your alley. It’s a fun, character-driven piece highlighted by excellent performances and fun visuals. It’s another quirky success from The Midnight Company.

The Midnight Company is presenting Spirits to Enforce at the Kranzberg Arts Center until May 18, 2024

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Superbly Cast “Lion” Roars to Vibrant Life at Midnight Company

Posted in St Louis Theatre, tagged , , , , , on October 12, 2023| Leave a Comment »

The Lion in Winter
by James Goldman
Directed by Tom Kopp
The Midnight Company
October 7, 2023

Lavonne Byers, Shannon Campbell, Michael Pierce, Joe Hanrahan, John Wolbers, Ryan Lawson-Maeske, Joel Moses
Photo by Joey Rumpell
The Midnight Company

The Lion in Winter is a show that’s often associated with its two leading roles–and they are great ones. Still, as The Midnight Company is showing in its current production at the .ZACK Theatre, as directed by Tom Kopp, this is an ensemble piece with great roles for all of its players. With its mixture of drama, suspense, intrigue, and humor, this show provides an ideal showcase for a strong collection of first-rate local performers, who are all at the top of their game. 

This play is also one that’s often more associated with the screen than the stage, considering the high-profile, award-winning 1968 film and 2003 television adaptation. It’s a fascinating play, however, and one that has strong roles for its ensemble. It’s essentially a fictionalization of history–an imagination of real historical characters in situations that make for an intriguing study of character, as well as an exploration of the scheming machinations that can come with royalty and royal ambition. The story centers on English King Henry II and his estranged, imprisoned wife Eleanor of Aquitaine–who has been temporarily let out of prison for Christmas–along with their sons Richard, Geoffrey, and John. The well-crafted script by James Goldman explores the various ways Henry and Eleanor use to manipulate one another to get what they want, as well as the schemes, ambitions, and disappointments of the sons. There’s also the new, young King of France, Philip, who also figures into the various schemes to attain and maintain power, land, and influence; as well as Philip’s sister Alais, who was brought up by Eleanor and now, as a young woman, is Henry’s mistress as well as a promised fiancée for whichever son becomes King, as Henry favors the young, immature John and Eleanor favors the soldierly Richard, with the shrewd Geoffrey often treated as an afterthought. Through the course of the story, schemes are made, secrets are revealed, and much emotional manipulation ensues, as the characters jockey for position and struggle to secure their ambitions, future security, and in the case of Henry and Eleanor, their legacies.

While the story is fascinating and the dialogue is incisive, the biggest attraction of this show is the sheer strength of its characters. For The Midnight Company, the casting is ideal, with excellent ensemble chemistry, exquisite performances, and no weak links. Byers and Hanrahan are superb in the leads, with Byers especially shining as the determined, often disappointed Eleanor. The scenes these two share crackle with energy and a mix of conflicting emotions, serving as the centerpiece of the plot. The sons are also ideally cast, with Joel Moses as the warlike Richard showing an inner vulnerability, John Wolbers as the scheming Geoffrey displaying a scheming intelligence, and Ryan Lawson-Maeske excellent as the petulant, entitled John. Shannon Campbell as Alais develops the character with believable strength as the story unfolds, and Michael Pierce plays Philip with credible regal bearing and assertiveness. 

Technically, the production impresses with a suitably Medieval look and atmosphere, aided by Brad Slavik’s well-appointed unit set and Liz Henning’s impeccably detailed costumes. There’s also good use of period-styled Christmas music in the scene transitions and original music by Susan Kopp, and appropriate atmospheric lighting by Tony Anselmo. The production utilizes the sometimes difficult space at the .ZACK Theatre especially well.

The Lion in Winter has proved to be an excellent choice for The Midnight Company. With its well-chosen cast and effective staging, this is a show that plays all the intrigue with just the right pitch, not overdoing it but not underplaying it either. It’s a marvelous showcase for a great cast. 

Joe Hanrahan, Lavonne Byers
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Lion in Winter at the .ZACK Theatre until October 21, 2023

The review was orginally published at kdhx.org

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Midnight’s “Professor Sunshine” Entertains with Intriguing Story, Familiar Music

Posted in St Louis Theatre, tagged , , , , , on September 22, 2023| Leave a Comment »

Professor Sunshine’s Traveling Post-Apocalyptic Rock ‘n Roll Revival
by Joe Hanrahan
Directed by Joe Hanrahan
The Midnight Company
September 20, 2023

Joe Hanrahan, Kelly Howe
Photo by Todd Davis
The Midnight Company

 

The Midnight Company’s work at the Blue Strawberry Theatre & Lounge is continuing with another concert-with-a-story, Professor Sunshine’s Traveling Post-Apocalyptic Rock ‘n Roll Revival. Written by Midnight’s artistic director Joe Hanrahan and starring Hanrahan and Kelly Howe, the show has a bit more of a story this time, featuring two strong leading performances and Howe’s impressive vocals on a variety of classic hits. The show also benefits from a strong sense of theme. 

The setting is a world in which an unspecified cataclysmic event has happened, and our two leads, Professor Sunshine (Hanrahan) and singer Cheyenne (Howe) apparently spend their days traveling to sparsely populated towns and performing concerts. At first, Cheyenne appears weary and reluctant, complaining about the Professor’s late arrival and controlling ways, and beginning the concert set with the Animals’ “We Gotta Get Outta This Place”, which apparently the “boss” doesn’t like her to sing. Soon, the Professor shows up, and a dialogue of sorts ensues amidst the collection of classic rock hits, mostly from the 60s and 70s, but ranging into the 80’s with “Everybody Wants to Rule the World”. The relationship between these two is at turns prickly and familiar, working out into a sort of odd friendship, as they explore regrets and reflections of life on the road in a post-apocalyptic world. 

Mostly, though, the production is showcase for Howe’s versatile vocals. While for her last collaboration with Hanrahan at the Blue Strawberry, Just One Look, Howe was playing Linda Ronstadt and had to sing (wonderfully) in Ronstadt’s style for the whole show, here she has more freedom to cut loose on songs from The Animals, Patti Smith, Led Zeppelin, Roy Orbison, and more, showing off the power and control of her excellent voice. Howe’s voice is the musical highlight here, but Hanrahan gets his chance to exhibit his own “talk-singing” on “Rocky Raccoon” and “A Song For You” with admirable style and character. The interplay between Howe and Hanrahan and the script full of humorous rock ‘n roll references adds much to the entertainment value here, as does the excellent band made up of music director Curt Landes on piano, Tom Maloney on guitar and bass, and Mark Rogers on percussion and backing vocals. Liz Henning’s costumes add a great deal of flair, as well, helping to further define the characters and tone of the production. 

Overall, this is an enjoyable show that celebrates classic rock music and a supremely talented lead vocalist, with an intriguing, if somewhat vague, story to tie the show together. It all fits very well into the setting of the Blue Strawberry, as well. There’s one more performance scheduled, and it’s worth checking out, especially if you’re into classic rock.

The Midnight Company is presenting Professor Sunshine’s Traveling Post-Apocalyptic Rock ‘n Roll Revival at the Blue Strawberry Showroom & Lounge until September 23, 2023

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Midnight Company Highlights Relationships, Strong Acting in “The Years”

Posted in St Louis Theatre, tagged , , , , , on July 14, 2023| Leave a Comment »

The Years
by Cindy Lou Johnson
Directed by Joe Hanrahan
The Midnight Company
July 13, 2023

Joey File, Summer Baer, Ashley Bauman
Photo by Joey Rumpell
The Midnight Company

The Midnight Company puts on some fascinating plays. Whether comedy or drama, one-person shows or ensemble pieces, the shows from this company always seem to offer something to think about, or new angles on aspects of life and relationships. Their latest piece, Cindy Lou Johnson’s The Years, is no exception. Directed by Midnight’s Artistic Director Joe Hanrahan and featuring a universally excellent cast, this play offers a look at family relationships, chance encounters, and the sometimes surprising consequences of people’s actions. 

People can influence and affect one another in a variety of sometimes unexpected ways. The Years looks at a series of incidents in the life of a family and of a stranger who unwittingly begins a chain of connected events that reverberates over several years. It begins on a wedding day, as Andrea (Alicen Moser) prepares to get married and, after a traumatic event involving a strange man (Joseph Garner), has to deal with her family members who are all dealing with their own personal issues, as both Andrea and her sister Eloise (Summer Baer) are still grieving the relatively recent loss of their mother, and Eloise’s husband Jeff (Michael Pierce) arrives with unwelcome news. Meanwhile, their fastidious cousin Isabella (Ashley Bauman) tries to make everything perfect for the wedding, and their other cousin Andrew (Joey File) offers his own cynical view of marriage while serving as a sounding board for his cousins. As the story goes on, the years pass, and there are more weddings and more chance encounters, as the man from the first scene, whose name is Bartholomew, finds he can’t escape what happened earlier in his life no matter how much he thought he could, Andrea deals with her own view of herself and her life choices, and the cousins are faced with harsh truths in their relationships with one another, particularly brother and sister Isabella and Andrew.

There isn’t much detail I can go into without spoiling, but I will say that this is a compelling ensemble drama where all of the characters are given their weightier moments, although there is also a degree of humor that runs through the show that helps to ease the tensions at times, and emphasize it at others. It may seem like an odd series of situations, and it relies a lot on what could be seen as some unbelievable coincidences, but the play, and the performances, make all these seemingly unlikely events seem credible. The performances are first-rate across the board, as well; so much so that it’s difficult to single anyone out. All of the players present truly believable characters and situations, with superb ensemble chemistry and thoroughly authentic-seeming relationships. The staging and pacing by director Hanrahan is also excellent, with the emotional moments building in ways that seem both natural and compelling.

The minimalist set by Brad Slavik serves the story well, using the space at the Chapel venue to excellent effect. Costume designer Liz Henning has outfitted the cast appropriately for their characters, and there’s also appropriate atmospheric lighting by Tony Anselmo. The use of music in transition scenes is also particularly effective.

I wasn’t familiar with The Years before Midnight Company announced they were staging it, and I’m grateful to The Midnight Company for bringing it into my awareness. This is an intriguing, occasionally intense, and highly thought-provoking story that’s told well by a fantastic cast. It’s a remarkable production.

Joseph Garner, Alicen Moser
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Years at The Chapel until July 29, 2023

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Midnight Company’s “Leonard Pelkey” is a Compelling, Emotionally Resonant Production

Posted in Uncategorized, tagged , , , , , , on May 10, 2023| Leave a Comment »

The Absolute Brightness of Leonard Pelkey
by Celeste Lecesne
Directed by Alicen Moser
The Midnight Company
May 6, 2023

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is currently back onstage with a poignant, emotional production that features Joe Hanrahan doing what he’s perhaps best known for–a one-man show. The Absolute Brightness of Leonard Pelkey isn’t a one character show, however. Hanrahan gets to show his versatility here, telling a short but powerful story and playing a variety of roles, creating a memorable, remarkably affecting portrait of a small town in turmoil, and one character we never actually “meet” who makes the most profound impact of all. 

Hanrahan narrates the story as Chuck DeSoto, a police detective in a small New Jersey town who is remembering the case that has affected him the most. The flashback format has DeSoto offering commentary on the proceedings as the story unfolds, and Hanrahan deftly morphs into the various players, starting when hair salon owner Ellen Hertle and her teenage daughter Phoebe walk into the police station to report a missing person. Leonard Pelkey is a 14-year-old boy who Ellen has been raising after his mothers’ death. Leonard has only been in town for about two years, but he’s already made an impression, with his “weird” theatrical personality and offbeat sense of personal style. It’s made fairly clear that Leonard is gay, as well, and he’s experienced a great deal of bullying at school. As the story unfolds, the efforts to find what’s happened to Leonard unfold like a mystery story, and although there are sad and even tragic elements, there are also moments of hope, as we meet a series of characters who have been affected by Leonard in various ways, including the concerned Ellen; conflicted Phoebe; Buddy Howard, Leonard’s British-born drama instructor; clock repairman Otto Beckerman; and others. As the truth is discovered, we get to learn more about the various characters and their motivations–especially Phoebe, who is perhaps the most well-drawn character here besides Chuck. Also, even though Leonard never actually “appears” onstage, his character seems just as real as the others, and his influence pervades every moment. 

It’s a short play, but especially well-constructed, and Hanrahan does an excellent job playing the various distinctive characters, especially Chuck, Phoebe, Ellen, and Otto. Hanrahan’s handles the humor and the drama well, and the pacing is excellent. Tony Anselmo’s lighting also adds much to the overall mood of the show.

The playwright, Celeste Lecesne, is also a co-founder of The Trevor Project, which provides a crisis hotline and other resources for LGBTQ+ youth. The theme of  this show highlights the difficulties that young gay teens can endure, as well as the positive impact that one boy’s life can make on those around him, even in such a short time.  The play also  features an over-arching theme of individual expression and the importance of community support and respect. It’s a memorable effort from Joe Hanrahan and The Midnight Company.

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Absolute Brightness of Leonard Pelkey at the Kranzberg Arts Center until May 20, 2023

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