Posts Tagged ‘the new jewish theatre’

Audience Howls With Laughter at NJT’s Cleverly Staged “Baskerville”

Posted in St Louis Theatre, tagged , , , , , , , , on November 28, 2025| Leave a Comment »

Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery
by Ken Ludwig
Directed by Nisi Sturgis
The New Jewish Theatre
November 20, 2025

Nick Freed, Bryce A. Miller, John Wilson, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

It may be based on an iconic mystery series and its characters, but there’s no mystery about the appeal of Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery, as staged at The New Jewish Theatre under the direction of Nisi Sturgis. With clever staging, a sharp script, brisk pacing, and an excellent, enthusiastic cast, this tale of intrigue and mystery on the moors of Victorian England has its audience howling with laughter. The appeal is enhanced by great production values, and some fun audience participation gags. 

The story is framed in a similar way to the popular comedic staging of Patrick Barlow’s adaptation of  John Buchan’s The 39 Steps, but based on the even more well-known stories of celebrated detective character Sherlock Holmes (Nick Freed) and his intrepid assistant, Dr. Watson (Bryce A. Miller).  This one is based on the classic story The Hound of the Baskervilles, in which the two are enlisted to help on case involving a murder on the moors bordering a country estate, as the proprietor has been killed in a manner that mirrors an old legend in the Baskerville family, involving a giant, ferocious dog. Watson narrates the story, and takes the principal role, although Holmes still figures prominently, and three performers billed as Actor One (Sean C. Seifert), Actor Two (John Wilson), and Actress One (Alicia Revé Like) each play a variety of roles as the story takes the crime-solving duo from the streets of London to the Devonshire countryside on a caper that involves old legends, romance, sinister plots, murder, and all kinds of intrigue.

Like The 39 Steps, this story has been framed as a comedy, with much of the humor coming from the multi-casting elements and quick pacing, along with a clever script that covers all the familiar beats of a Holmes story but streamlines it to emphasize comic elements and provide many elements to showcase the versatility of the performers.  It’s a fun show, and I’ve seen an excellent production in St. Louis before, a few years ago. At NJT, what stands out this time is the audience participation element, as well as several self-referential and “breaking the Fourth Wall” moments that add much hilarity to the proceedings. The cast members are kept on their toes by the pacing, and they handle the workout with much energy and quick thinking, resulting in a  hilarious evening of suspense and riotous laughter, with a haunting gothic-styled backdrop of dramatic music and excellent production values. 

The creepy, haunting, suspenseful tone of the proceedings are greatly enhanced by means of a marvelously versatile and deceptively simple set by Reiko Huffman that consists of quick-change set pieces and various movable elements on wheels, all painted and styled in suitable Victorian fashion. And speaking of fashion, Michele Friedman Siler’s costumes do a great job of outfitting the characters, working well with fast character changes, and maintaining the 19th Century mood and style. There’s also strong work from lighting designer Katherine Stepanek, keeping the tone dark and haunting while making everything clearly visible to the audience and in keeping with the heightened comic tone.  There’s also a memorable soundtrack and music designed and composed by Victoria Deiorio, recreated with flair for this production by Ethan Foss.

The cast that has been assembled here is nothing short of fantastic, led by Miller in a charming turn as the determined and often bewildered Watson, who is essentially the heart of this story. Freed is also effective and thoroughly credible as the mysterious but almost infuriatingly competent Holmes, and this duo’s interactions form much the humor here, although the three support players carry much of that weight as well. Miller also has easy rapport with Wilson’s most prominent character, the amiable Texan heir to the estate, Sir Henry Baskerville, who also has excellent moments with Like as the conflicted Beryl, with whom Sir Henry becomes smitten. Wilson also excels in his other roles, such as the grumpy Detective Lestrade, and Siefert and Like each play a variety of characters with enthusiasm and distinction, with Siefert as the mysterious Jack Stapleton and supportive Dr. Mortimer, and Like memorable as the sympathetic Beryl and persistent young Cartwright, who helps Holmes on the case in London. There’s so much energy in this show, and the rapport the performers have with one another and with the audience contributes to the overall enjoyment here, with a few wardrobe mishaps being covered well and adding to the humor to the point in which it’s not entirely clear if they really were mishaps or if they were planned. The building suspense and overall gothic tone is well-maintained by the cast as well, providing much in entertainment value.

“Entertaining” is a great word for the overall experience here. That, and “fun”, for the audience and apparently for the cast as well. I also appreciate the staging with the audience divided and the performance area in the middle, which is a format this company has used before to excellent effect. For Sherlock Holmes fans, I think this show would be especially appealing, although there’s enough broad appeal for anyone. It’s a good way for NJT to end their season with a flourish, and a roar of laughter from their audience. 

Sean C. Seifert, Alicia Revé Like
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Ken Ludwig’s Baskerville: a Sherlock Holmes Mystery at the J’s Wool Studio Theatre until December 7, 2025

Read Full Post »

NJT’s “Wanderers” is a Highly Emotional Exploration of Relationships and Expectations

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

The Wanderers
by Anna Ziegler
Directed by Robert Quinlan
The New Jewish Theatre
September 11, 2025

Bryce A. Miller, Jade Cash
Photo by Jon Gitchoff
The New Jewish Theatre

One of the marks of great theatre is the ability to explore and inspire deep emotions, for the actors and the characters they play, and also for the audience. A good example of this is my experience of watching the New Jewish Theatre’s latest production, Anna Ziegler’s The Wanderers,  directed by Robert Quinlan. This play, following two parallel stories of married couples, runs the gamut of emotions, as I did watching it, following the twists, turns, and various attributes and decisions of the characters, not being entirely sure what to think until I saw it come together as a remarkably thoughtful and challenging, with some truly excellent performances.

This is a play with a few twists, but the set-up is fairly simple–we see alternating scenes of two married couples, one in the 1970s and 80s, and another starting in 2015. The earlier couple, Esther (Jade Cash) and Schmuli (Bryce A. Miller) are members of a strict Jewish sect called Satmar Hasidism, and their first scene shows their wedding night, when they are alone together for what is apparently the first time. The later couple, Abe (Joel Moses) and Sophie (Wendy Renée Greenwood), are a pair of writers who grew up together, and we first see Sophie reflecting on their relationship and a major decision she has made regarding it. Their timeline then goes back a bit to explore how their relationship got to that moment of decision, and in alternating scenes we see both couples struggle with community expectations, parenting, the ups and downs of their personal relationships, and differences in beliefs and opinions, and fairly soon learn what the connection is between the two couples, which is fairly obvious from early on. We also see Julia (Maggie Wininger), a famous movie star who has attended one of Abe’s book readings, and an email conversation between the two, which is portrayed in something of an otherworldly way, with lights and sound effects that lend an air of mystery as Abe increasingly bears his soul to the woman on the other end of the computer, whom he seems to hold as something of an ideal, as opposed to reality of his own marriage and family commitments, and while growing more and more distant from Sophie. Meanwhile, Schmuli and Esther navigate their own struggles, as he deals with pressures from the stricter members of his family and community as she becomes increasingly curious about the outside world. 

This is an especially well-structured story, with a few twists and revelations, and developments that go the way you may be expecting, and others that don’t. I found myself getting angry at the characters (especially Abe) quite a bit, and wondering if Sophie was going to be given much to say because a lot of time she seemed to be hovering in the background, but in the last third or so of the play, Sophie is given her moments. Everyone is excellent, with Moses perfectly cast as the alternately charming and self-absorbed Abe, and Greenwood a strong foil as the persistent Sophie, and Cash and Miller at their best as the the conflicted but obviously caring Esther and Schmuli. Some of the play’s most profound moments are between these two, as the tension that grows between them is palpable and saddening. Wininger is also a standout as Julia, who hovers in something of an ethereal space in the personification of her emails with Abe, as something of a cross between a real person and an idealistic fantasy. The chemistry is strong all around, giving energy to intelligence and gradually building momentum of the script.

The stage layout is intriguing, with the performance area set up as a long strip in the middle, with Esther and Schmuli’s area on one side and Abe and Sophie’s on the other, with characters occasionally venturing out into the undefined space in the middle. Reiko Huffman’s set is detailed and well-defined, and well-lit by Jayson Lawshee, whose lighting design lends alternate airs of mystery and realism, as the plot demands. There’s also excellent work from sound designer Amanda Werre, and meticulously detailed costumes by Michele Friedman Siler that add to the storytelling as well as helping define the characters.

This isn’t a long play, running at approximately an hour and 45 minutes without intermission, but there’s a lot going on in that time span, which in the world of the play is years and decades of emotion, connection, distance, and drama. It’s a thoughtful exploration of relationships, richly portrayed by a superb cast of excellent local performers. It’s sure to provoke a lot of thought, and even some emotional investment in these well-drawn characters and their story.

Wendy Renée Greenwood, Joel Moses
Photo by Jon Gitchoff
The New Jewish Theatre

The New Jewish Theatre is presenting The Wanderers at the J’s Wool Studio Theatre until September 28, 2025

Read Full Post »

NJT’s “We All Fall Down” is a Vividly Chaotic Family Portrait

Posted in St Louis Theatre, tagged , , , , , , on June 4, 2024| Leave a Comment »

We All Fall Down
by Lila Rose Kaplan
Directed by Rebekah Scallet
New Jewish Theatre
May 30, 2024

Alan Knoll, Jenni Ryan, Bridgette Bassa
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a vividly realistic, alternately comic and poignant picture of a family in the midst of change, conflict, and chaos. With strong characterizations and believable relationships, this is a story that should be relatable to many, regardless of cultural or religious background. At NJT, under the direction of artistic director Rebekah Scallet, the play is brought to life with energy and great detail by an excellent cast and creative team.

Nothing runs smoothly in this story, as the Stein family prepares for a Passover Seder, led by matriarch Linda (Mindy Shaw), who insists on the celebration to the confusion of her family, because she had previously eschewed the religious aspects of Judaism, along with her sister-in-law, the politically active Nan (Jenni Ryan). Linda’s husband, recently retired college professor Saul (Alan Knoll) had fond memories of celebrating the holiday as a child with his grandparents, but this will be his first Seder as an adult. His and Linda’s daughters, California-based educator Sammi (Bridgette Bassa), and aspiring Yoga instructor Ariel (Hailey Medrano), are both confused by Linda’s sudden enthusiasm for Passover, and Nan is downright hostile. Also along for the evening are Linda’s graduate research assistant Ester (Taijha Silas), and former neighbor Bev (Bethany Barr), both of whom seem more positive about the preparations for the Seder than the rest of the family. 

And the Seder isn’t the only source of conflict, either. There’s a lot going on here, as Linda deals with her own lack of interest in technology as Ester tries to help her promote her new book with an exciting potential talk-show appearance, Nan and Bev deal with personality conflicts, and both daughters deal with their parents’ disapproval of various aspects of their lives and apparent refusal to see them as full-grown adults. Meanwhile, there’s another serious issue involving Saul that causes concern for his family, and informs Linda’s insistence on the Seder in the first place. 

This is a fast-moving, cleverly structured play that features a lot of humor and comes across as a comedy for the most part, although the underlying sense of drama is palpable and informs the relationships and character motivations. There’s a lot to relate to for audiences, whether viewers are from a Jewish background or not, and serious issues like mental health, aging, and political and religious differences are handled with surprising clarity given the fast pace of the events. The characters are well-portrayed by a strong cast, led by Shaw as the insistent, occasionally misguided but always caring Linda, and Knoll in a poignant performance as the likable, increasingly forgetful Saul. There’s also a believable sibling relationship between Bassa as the optimistic but often exasperated Sammi and Medrano as the somewhat secretive, overprotected Ariel. Ryan as Nan, Barr as Bev, and Silas as Ester also lend strong support, with Silas having a memorable singing moment during the Seder. While some characters are more likable than others, I also think some may be more and less relatable depending on individual viewers. It’s a cohesive cast that carries the story and message with believable humor, drama, and intensity as needed.

The set, by Andrea Ball, is remarkably detailed, presenting the cross-section of a house including stairs, and upstairs room, and a bathroom. The costumes by Michele Friedman Siler and Dennis Milam Bensie suit the characters well. There’s also excellent atmospheric lighting by Michael Sullivan and sound by Ellie Schwetye, helping to bring the world and moods of this family effectively to life. 

We All Fall Down is an intriguing show about a memorable family with situations that are at once particular and universal. With a fair amount of humor and drama, it leaves a lot for audiences to think about. It’s emphasis on memory, upholding family traditions while also questioning them, and the importance of maintaining relationships through change are all themes to which many should be able to relate. With its strong sense of character and setting, along with an excellent cast, it’s a thoughtfully staged theatrical experience.

Taijha Silas, Bridgette Bassa, Alan Knoll, Mindy Shaw
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting We All Fall Down at the J’s Wool Studio Theatre until June 16, 2024

Read Full Post »

NJT’s World Premiere “Bee Play” is Buzzing with Character, Potential

Posted in St Louis Theatre, tagged , , , , , , on September 9, 2022| 1 Comment »

The Bee Play
by Elizabeth Savage
Directed by Sarah Whitney
New Jewish Theatre
September 8, 2022

Ellie Schwetye, Miles Brenton
Photo by Jon Gitchoff
New Jewish Theatre

According to new artistic director Rebekah Scallet in her pre-show speech, The Bee Play is the New Jewish Theatre’s first-ever world premiere. This play has had a relatively long development process, and now is brought to the stage with an engaging story, a strong cast, and NJT’s usual excellent production values. It’s a compelling, fascinating story, with a great deal of insight and potential, even though there are still a few rough edges.

The story takes place in a Bronx apartment building in the recent past (2016, according to the program). Carver Washington (Miles Brenton) is a determined and studious young man who is fascinated with bees, keeping hives on the roof of his building and speaking to the audience about the importance of bees for the health and survival of the planet. Carver lives with his ailing grandmother, Ma’Dear (Margery A. Handy), who raised him and his younger sister after the death of their mother, and who depends upon Carver for her care. His energetic sister, Paris France Washington (Riley Carter Adams) is an enthusiastic dance student who is preparing for her first big recital. Carver, who has a strong sense of responsibility to his family, also has a strong desire to attend college out of state where he can get a degree in Apiary Science (the study of bees). His grandmother is suspicious of his educational and life goals, but he has the support of his idealistic friend Devora (Ellie Schwetye), who lives nearby in an “urban kibbutz” and has hopes of changing the world for the better.  Change is a big issue in this story, in fact, as some characters fear change, others pursue it, and sometimes it happens when the characters least expect it.

There are many issues covered here, from family relationships and responsibilities, to religious differences and influence, to humans’ responsibility toward the planet and other living beings. It’s a compelling story with especially memorable characters, and some excellent dialogue and thought-provoking conversations, although some of the backstory needs a little more attention, and the second act feels a bit rushed, leading up to an ending that leaves more questions than answers and seems to happen too quickly.  There are also some somewhat confusing moments that could use further explanation.

For the most part, though, this is a fascinating show, and the terrific cast makes it all the more engaging. Brenton is a strong protagonist as the earnest, determined Carver, conveying his passion for bees and conflicted feelings about his family responsibilities especially well. His scenes with the equally strong Schwetye as the outgoing, idealistic Devora are convincing, as are his moments with the excellent Handy as the complex, somewhat enigmatic Ma’Dear. There’s also a truly fantastic performance from young Adams as the highly energetic, strong-willed Paris, showing off impressive dance skills along with marvelous stage presence. The actors work together well, making all the relationships, conflicts, and tensions believable, and conveying the moments of comedy and drama with equal strength.

As is usual with this theatre company, the technical aspects of this production are impressive. Dunsi Dai’s remarkably detailed set is both realistic and transporting. The costumes by Michele Friedman Siler suit the characters’ personalities well, and Jayson Lawshee’s lighting adds to the storytelling in atmospheric ways. There’s also impressive sound design by Schwetye, and energetic choreography by Sam Gaitsch. 

The Bee Play is a thoughtful, thought-provoking play with a lot of potential. Although there are few plotting a pacing issues that still should be worked on, it’s still a fascinating, emotional family drama that also raises some important environmental issues. It’s a memorable season opener for the New Jewish Theatre. 

Margery A. Handy, Riley Carter Adams
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting The Bee Play at the J’s Wool Studio Theatre until September 25, 2022

Read Full Post »

NJT Brings Letters to Life with Stunningly Atmospheric “Dear Jack, Dear Louise”

Posted in St Louis Theatre, tagged , , , , , , on June 13, 2022| Leave a Comment »

Dear Jack, Dear Louise
by Ken Ludwig
Directed by Sharon Hunter
New Jewish Theatre
June 9, 2022

Molly Burris, Ryan Lawson-Maeske
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is currently serving as a time machine, or the closest we can probably get outside of science fiction. Its staging of Ken Ludwig’s love letter to his parents, Dear Jack, Dear Louise, portrays its time period and setting in a way that makes everything seem so astonishingly immediate. It’s billed as a “romantic comedy”, but there’s a lot more to it than that, and in the hands of the two wonderful leading performers, this is a tale that takes the audiences on a convincing emotional journey.

As made clear in the play’s promotional materials, and via pictures displayed in the lobby, this show is about two real people, playwright Ken Ludwig’s parents Jacob “Jack” Ludwig (Ryan Lawson-Maeske) and Louise Rabiner (Molly Burris), who “meet” via letters after being “set-up” by their parents in the early 1940s. I would say this is a two character play, but as staged here, there are basically four characters–Jack, Louise, the 1940s, and World War II. After an initially halting and brief first letter, their relationship grows and these two get to know each other more closely, even though they don’t actually meet in person for most of the play, despite several frustrated attempts, as the war (for Jack) and Louise’s burgeoning career as an actress and dancer intervene. Of course, because of the poster in the lobby and the promotions for the play, we know these two will eventually meet and marry, but Ludwig’s construction of the play, along with the performances and Sharon Hunter’s well-pitched direction make this a thoroughly engaging and even suspenseful story, as we the audience get to know these characters as they grow closer to one another through their letters, developing a friendship that leads to romantic feelings and expectations. The presentation is dynamic–rather than simply having the characters read the letters, they are structured more like dialogue, as the characters respond to one another more conversationally as the story develops. The growth of the relationship, along with various challenges–from personal issues and jealousy to the growing and increasingly threatening presence of the war–is portrayed in a fully credible and compelling way, as these well-drawn characters form a believable personal connection, engaging the audience in their hopes, dreams, and struggles.

Everything is developed in such a vivid way, with Dunsi Dai’s impressively detailed set and contributions by scenic artist Cameron Tesson and costume designer Michele Friedman Siler bring these characters and their world to life in a stunningly effective way. The 1940s vibe is enhanced by the pictures and posters that decorate the stage, featuring celebrities, plays, and movies from the era that are mentioned in the letters. There’s also an atmospheric soundtrack of 1940s pop hits to further set the mood, and excellent work from sound designer Amanda Werre, lighting designer David LaRose, and props supervisor Katie Orr in bringing this world to vivid, dramatic life. 

As well developed as Jack and Louise’s world is here, the characters themselves are also ideally portrayed in the stunningly well-matched performances of Burris as the outgoing Louise and Lawson-Maeske as the more reserved but compassionate Jack. Both are intensely likable, portraying a range of emotions as the tone shifts between light romantic comedy and more intense drama.  Their chemistry is fully believable, as well. They’re a vibrant, complex and thoroughly winning combination, making this play all the more involving as these two embody their characters so completely and credibly. 

This show is excellent in portraying a world history event (the Second World War) in a relatably human way, as well as serving as the playwright’s tribute to his own parents, on whose early relationship this show is based. Dear Jack, Dear Louise at NJT is an effective time trip as well as a riveting romantic story. It’s another excellent theatrical experience from this celebrated theatre company.

Ryan Lawson-Maeske, Molly Burris
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Dear Jack, Dear Louise at the J’s Wool Studio Theatre until June 26th, 2022

Read Full Post »