Posts Tagged ‘tom stoppard’

“Rosencrantz & Guildenstern” Philosophize and Hold Attention in STLSF and Albion’s Fascinating Collaboration

Posted in St Louis Theatre, tagged , , , , , , on March 30, 2026| Leave a Comment »

Rosencrantz & Guildenstern Are Dead
by Tom Stoppard
Directed by Tom Ridgely
St. Louis Shakespeare Festival in Association with Albion Theatre
March 29, 2026

Mitchell Henry-Eagles, Ryan Omar Stack
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival has grown a great deal over its lifespan, and now it’s bigger than ever. While, as always, they will be staging their “main event” in Shakespeare Glen later this year, they’ve also added a new production to their repertoire this season. Teaming up with the always excellent Albion Theatre, the festival is taking to the Kranzberg Arts Center to stage Rosencrantz & Guildenstern Are Dead, playwright Tom Stoppard’s absurdist riff on Hamlet, here directed by Tom Ridgely and featuring a strong cast and excellent staging that emphasizes the theatrical to profound effect.

One of Stoppard’s more well-known plays, this is also among the best known of the “retell a familiar literary work through the eyes of side characters” genre, especially among theatrical works. I hadn’t seen the play before this production, but I read it in high school drama class, after we read Hamlet. I didn’t remember it well, because high school was longer ago than I sometimes realize, but I remembered the general vibe. As always with plays, though, seeing it live is even better than reading, and seeing this very wordy play brought to life with well-defined characters and fully realized performances makes it all the more entertaining, and thought-provoking. It helps the audience to be familiar with the plot of Hamlet, and some knowledge of absurdism also helps, but there’s still a lot here to think about regardless of prior knowledge.

This show keeps its theatricality on full display, and it begins with the audience being ushered in through a see-through plastic curtain, which stays up for the first segment of Act 1, as Rosencrantz (Mitchell Henry-Eagles) and Guildenstern (Ryan Omar Stack) play a coin-flipping game and ponder the nature of probability. They can’t quite remember what they’re supposed to be doing in the royal court of Denmark, but they vaguely remember being sent for and they make their way there, meeting a traveling theatre troupe on the way. This is, of course, the same group that features in Hamlet, but they have more to do here. The lead Player (Jeff Cummings) becomes something of a recurring foil/provocateur for Rosencrantz and Guildenstern, and the players add much to the humor and sense of inevitability of the story. Our “heroes” soon part with the players (to meet again–and again–later), and end up at Elsinore, where various characters and events from Hamlet weave in and out of their story, including Claudius (Eric Nenninger), Gertrude (Joy Christina Turner), Ophelia (Danielle Bryden), Polonius (Lynn Berg), and Hamlet himself (Sean C. Seifert), only here, the goings on of the “parent play” are like passing moments that must occur, while our bewildered duo still wonder what to make of their roles, their obligations, and their very identities. 

If you know the events of Hamlet, you sort of know where this is going, but we see everything from a new angle, including moments only talked about in the source play. The focus is much more on being and pondering than doing, although there is a fair amount of action especially in the third act, and it seems to pose a general question throughout of “who is in charge, anyway?” Even our leads don’t know for sure, nor do they always seem to know which one of them is which. Still, they are a personable pair, and the looming conclusion takes on a tragic air as the ship on which they find themselves makes its way across the sea. 

The actors are well chosen, and the pacing is just right–not too fast and not so slow as to drag. The two leads, Henry-Eagles and Stack, present relatable if bumbling characters that take the audience along on their existential journey with determination and moments of wit and charm. They make a memorable pair. Cummings as the Player is also a force, with an obvious theatrical air that works to entertain and challenge. The rest of the performers also acquit themselves well, with standout moments from Seifert as a recognizable but somewhat bewildering Hamlet, Nenninger as a commanding Claudius, and India Eddy as a somewhat reluctant young player named Alfred. The whole ensemble is cohesive and energetic, and all are worthy of kudos. In addition to those already mentioned, they include Tiélere Cheatem, Bryn McLaughlin, and Mason Ramsey. 

The technical aspects of this production are in keeping with the whole theatrical tone of the show, which features fourth-wall breaking, meta references, and acknowledging that an audience is present. The audience walking through “backstage” to get to their seats is just the beginning, and the whole set-up uses the Kranzberg black box space to its fullest potential. The set, lighting, and props by Katherine Stepanek and sound by Amanda Werre contribute much to this overall air of being at, and also in, a play. Olivia Radle’s costumes are also cleverly designed and detailed, in keeping with the spirit of this play as well as Hamlet. There’s also excellent work from fight coordinator Bart Williams and intimacy coordinator Nikki Green.

If you love Shakespeare, and especially Hamlet, as well as having a bit of philosophical bent and a fondness for absurdism, this is a show for you. It’s a good starting point for exploring experimental aspects of theatre and connections between Shakespeare and contemporary drama. It’s also an excellent showcase for a magnificent cast. It’s a great new venture for the St. Louis Shakespeare Festival. No wonder all the performances are sold out (but there is still a waiting list)!

Cast of Rosencrantz & Guildenstern Are Dead
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival, in association with Albion Theatre, is presenting Rosencrantz & Guildenstern Are Dead at the Kranzberg Arts Center until April 11, 2026

Read Full Post »

Albion Theatre Debuts with Well-Cast, Deliberately Paced “Heroes”

Posted in St Louis Theatre, tagged , , , , , , on September 26, 2022| Leave a Comment »

Heroes
by Gérald Sibleyras, translated by Tom Stoppard
Directed by Robert Ashton
Albion Theatre
September 25, 2022

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

There’s a new theatre company in town, and its first play is an intriguing one. Albion Theatre is focused on works from the British Isles, and occasionally Ireland. Their inaugural production, Heroes, is actually French in origin, but this English translation by one of the UK’s most celebrated playwrights, Tom Stoppard, debuted in a critically-acclaimed run in London’s West End.  As Albion’s first entry in its repertoire, it makes a quiet but strong impression, featuring excellent performances and thoughtful but somewhat slower pacing.

Heroes is classed as a comedy, but it’s not a laugh-a-minute type of show. It’s a more gentle, thoughtful piece, focused more on developing the characters than just getting laughs. It’s also deliberately paced to the point that it forces the audience to pay attention, and can drag in places if not well-paced. For the most part, this production is paced just right. The story follows a trio of French World War I veterans who are living in a retirement home for vets in 1959. They have each been there for a different length of time–Henri (David Wassilak), who lost part of his leg in the war and walks with a can, has been there 25 years; Phillipe, who suffers from period fainting spells due to shrapnel lodged in his head, has been there 10 years; and the semi-reclusive Gustave (Will Shaw), has been there six months, although he seems to see himself as something of the ringleader of the group. The three spend their days on a terrace of the home, passing the time sharing their opinions of the various residents of the home and the nuns who work there, reminiscing and bragging about past romantic exploits, as well as family difficulties, and imagining elaborate trips abroad, even going so far as to plan an escape to see a grove of poplar trees in which Gustave is fascinated. They also share an odd connection to a stone dog sculpture that sits on the terrace, often acting as if it is a real animal. There isn’t much in the way of plot–it’s more of a character study and a meditation on aging. loneliness, and the need for companionship, as well as the changes in society over time and attitudes toward the aging and veterans in particular. It’s clearly a comedy, with a humor that is sometimes subtle, sometimes mildly risqué, and sometimes with hints of darkness, as these three men know their time is limited and are struggling to maintain meaning in their lives. 

The characters are well-drawn and the dialogue is well-constructed. The slower tone of this play requires engaging actors to keep the pace, and this production has found excellent performers. All three work together well, and the interplay between the characters is what makes the story here, with all three inhabiting their characters fully and portraying their quirks, annoyances, and endearing qualities with clarity and intelligence. Shaw as the somewhat bossy but insecure Gustave has memorable presence, and Wassilak as the more practical-minded Henri is also excellent, as is Di Lorenzo as the physically fragile but emotionally energetic Phillipe. All three lend a compelling air to the proceedings, as do their interactions with the one silent cast member, the stone dog statue, credited in the program as “Gérald Le Chien”. 

The dog also contributes to the interest of the play in a different way, as he is frequently being moved around between scenes by assistant director/stage manager Gwynneth Rausch with a hand truck–I wonder how much he weighs. Trying to guess where the dog will end up next contributes to the comic tone of the show. The other technical qualities are also strong, including Brad Slavik’s simple but realistic unit set, Marjorie Williamson’s expert set painting, Nathan Schroeder’s excellent lighting, Tracey Newcombe’s character-appropriate costumes, and Robin Weatherall’s proficient sound design. The overall atmosphere of time and place is well-maintained, working well with the mood and style of the play. 

Overall, while I think Heroes is something of a subdued choice for a debut production from a new theatre company, Albion Theatre has made a strong impression, especially considering the strength of the cast. It’s a thought-provoking show with some truly funny moments, as well as moments of poignancy. I’m looking forward to seeing more productions from this promising new company.

David Wassilak, Will Shaw, Isaiah Di Lorenzo
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Heroes at the Kranzberg Black Box Theatre until October 9, 2022

Read Full Post »

Insight’s “Shakespeare in Love” Entertains with Strong Cast, Setting

Posted in St Louis Theatre, tagged , , , , , , , on September 5, 2019| Leave a Comment »

Shakespeare in Love
by Lee Hall (Adapted From Screenplay by Tom Stoppard and Marc Norman)
Directed by Suki Peters
Insight Theatre Company
August 30, 2019

Aaron Dodd, Michelle Hand (standing), Gwendolyn Wotawa
Photo by John Lamb
Insight Theatre Company

Shakespeare in Love is a play! Or at least, it is now. The acclaimed and somewhat controversial 1998 film was adapted for the stage by playwright Lee Hall and first produced in London in 2014. Now, Insight Theatre Company has brought the play to St. Louis in an energetic production currently on stage at the Grandel Theatre. While the show itself has a few issues in terms of translation from screen to stage, Insight has assembled a top-notch cast, and the result is a fun, highly entertaining show.

Despite the ongoing debate over its Oscar wins, my opinion on the film of Shakespeare in Love is largely positive. Maybe it didn’t deserve to beat Saving Private Ryan for Best Picture, but on its own merits, it’s a clever, witty, and enjoyable film. The play retains a lot of that wit, although the transition to the stage seems a bit clunky at times, in that the focus seems to be more on Will Shakespeare (Aaron Dodd) and his relationship to friend/frenemy/mentor Christopher Marlowe (Spencer Sickmann) than I remember from the film. Shakespeare’s unexpected paramour and muse, the idealistic Viola de Lesseps (Gwendolyn Wotawa) is still prominent, but doesn’t seem to have the same level of emphasis onstage, and Viola’s story takes something of a backseat to Shakespeare’s, particularly at the end. The ensemble nature of the piece is highlighted more on stage, as well, with a relatively large cast and some excellent featured roles. This is a good thing, although there is a lot of hopping from setting to setting that may flow well on screen, but can seem a bit abrupt on stage. Still, for the most part, it’s an engaging story, especially in the hands of director Suki Peters and the excellent cast. The love story is here, as is the generally broad comic tone with some serious overtones and themes, including the relationship between artists and their patrons; the roles of women in theatre and in society; the pressure of living up to societal expectations; the very nature of inspiration and collaboration, and their role in creating arts, and more. It’s a lively, fast-paced show that plays more as a comedy than a romance, at least on stage, and the biggest romance seems to be of writers/performers with their work, more than with a particular person.

The cast, as previously mentioned, is first-rate, led by the personable Dodd as the conflicted, earnest Shakespeare, the charismatic Sickmann as the worldly Christopher Marlowe, and the engaging Wotawa as the determined, stage-loving Viola. There are also strong performances from Michelle Hand as Viola’s devoted Nurse; Ted Drury as Viola’s oily fiance, the Earl of Wessex; and the memorable, stage-commanding Wendy Renee Greenwood in the small but pivotal role of Queen Elizabeth I. Other standouts include delightful comic performances from Joneal Joplin and Whit Reichert as theatre patron Fennyman and producer Henslowe. Carl Overly Jr. and Shane Signorino are also excellent as prominent rival actors Richard Burbage and Ned Alleyn. The whole supporting cast is strong as well, with a lot of energy and an excellent sense of ensemble chemistry. Overall, the Elizabethan atmosphere and the sense of what the theatrical world in Shakespeare’s day was like shines through with vibrant enthusiasm.

The Elizabethan flair is well-maintained through the play’s physical production, as well. Chuck Winning’s multi-level unit set is colorful and versatile, as are Julian King’s impeccably well-suited costumes. There’s excellent work from lighting designer Jaime Zayas and sound designer Robin Weatherall, as well. There is also a strong musical sense in this production, with period-style songs and score played by musicians Rachel Bailey, Chuck Brinkley, Ruth Ezell, Cara Langhauser, Catherine Edwards Kopff, and Abraham Shaw, and vocals by various cast members. The music especially works well for setting and maintaining the tone and era of the play.

Overall, I would say Shakespeare in Love on stage, as performed by Insight, is a success. The adaptation is not without its flaws, but the overall enthusiasm of the production and the superb cast make up for any script and flow issues, for the most part. It’s a fun show, ultimately, with a real sense of love for its characters, and for theatre itself. It’s worth seeing especially for the strong performances.

Cast of Shakespeare in Love
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Shakespeare in Love at the Grandel Theatre until September 15, 2019

Read Full Post »

An Astounding “Arcadia” at WEPG

Posted in St Louis Theatre, tagged , , , , , on October 7, 2016| Leave a Comment »

Arcadia
by Tom Stoppard
Directed by Ellie Schwetye
West End Players Guild
October 1, 2016

Michael Cassidy Flynn Photo by John Lamb West End Players Guild

Michael Cassidy Flynn
Photo by John Lamb
West End Players Guild

I had never seen or read Tom Stoppard’s Arcadia before seeing this latest staging at West End Players Guild. Now, I think I have a new play to add to my list of favorites. Not knowing exactly what to expect when I sat down to watch it, I was soon impressed with the brilliance of the writing, which is well showcased in the remarkable staging at WEPG.

This play is, simply put, a masterpiece of contemporary theatre. It’s so intricately plotted and the characters are well-drawn and believable. There are so many little clues to the various mysteries that unfold here, and that’s another great aspect of this play. There’s more than one answer to find.  Cleverly, the play takes place at the same English country estate in two different time periods–the present day and the early 19th Century.  We’re first introduced to the 19th Century characters including young Thomasina Coverly (Kristin Rion), the daughter of the aristocratic family that owns the estate, and her tutor Septimus Hodge (Michael Cassidy Flynn), a scholarly and somewhat romantically adventurous young man who, we eventually find out, is an old school friend of Lord Byron’s. We also meet Thomasina’s mother, the jaded aristocrat Lady Croom (Ann Marie Mohr) and her brother, Captain Brice of the Royal Navy (Anthony Wininger), as well as the family’s enthusiastic landscaper Richard Noakes (Carl Overly, Jr.), who has grand plans for redesigning the grounds of the estate. There’s also an insecure, mediocre poet, Ezra Chater (Andrew Kuhlman) who has several complaints against Septimus regarding Chater’s poetry and his wife. We spend a good deal of time in this era until we’re eventually transported to modern times, in which the ancestors of the Coverly family still own and live on the estate, including the outgoing Chloe Coverly (Erin Renee Roberts), her quiet brother Gus (Mason Hunt), and studious brother Valentine Coverly (Jaz Tucker), who is working on mathematical equations concerning the local grouse population. Another scholar has also arrived to stay with the family, English literature specialist Hannah Jarvis (Nicole Angeli), whom Valentine refers to as his “fiancee” although their relationship doesn’t seem as clearly defined on her side. Hannah’s there to work on another scholarly project–finding out the identity of a hermit who lived on the grounds sometime after the time period featured in the first part of the play.  Another scholar, the egotistical Bernard Nightingale (John Wolbers), also arrives working on yet another project involving Lord Byron’s connection with the estate, and as the modern day characters interact and do their research, the action frequently switches back to the 19th Century plot, where we learn exactly how accurate the present-day scholars’ research turns out to be. It’s a gradual process, and I’m realizing now that my description my make this all sound hopelessly dry, but it isn’t in the least. The characters are so richly drawn and the events play out in surprising and fascinating ways, dealing with important issues concerning the importance of integrity in scholarship, the process of scientific discovery, the ignoring of the roles of brilliant women in history, and more.  This is a very dense but extremely well plotted and thoughtful play, and West End’s production is a superb rendition of this remarkable script.

Director Ellie Schwetye has staged this play in a lucid, dynamic way that makes everything the audience needs to know readily apparent, although it’s important to keep your eyes and ears open because there’s a whole lot going on. The set is static throughout, with few changes to the props between the time periods. Most of what is there, is there in both eras, suggesting more of a link between the two stories. All the little clues that are dropped throughout are there for the noticing, and the period details are very well-realized, as well. Tracey Newcomb-Margrave’s costumes outfit the characters with excellent detail, from the character-appropriate modern costumes to the vibrant 19th Century attire. There’s also excellent atmospheric lighting by Benjamin Lewis and strong sound design by Schwetye.

Even with such a wonderful script, a play like this requires a first-rate cast, and this production has that. Led by the strong, earnest performances of Flynn as Septimus and Angeli as Hannah, this cast doesn’t have a weak link. Other standouts include Wolbers in a lively performance as the pompous Bernard, Rion in a winning turn as the inquisitive, ahead-of-her-time Thomasina, Mohr as the somewhat imperious Lady Croom, Kuhlman as the defensive Chater, Overly as the energetic Noakes, and Hunt in a dual role as the silent Gus and his more gregarious ancestor, Augustus Coverly. Everyone is excellent, however, no matter the size of the role, and the ensemble chemistry–extremely important in a show like this–is superb.

Arcadia is one of those plays that makes me want to buy the script. As presented at West End Players Guild, the excellent words are brought to glorious, fascinating life. It’s a great show, and it’s only playing for one more weekend. Go see it if you can.

Nicole Angeli, Michael Cassidy Flynn, Mason Hunt, Kristin Rion, Jaz Tucker Photo by John Lamb West End Players Guild

Nicole Angeli, Michael Cassidy Flynn, Mason Hunt, Kristin Rion, Jaz Tucker
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Arcadia at Union Avenue Christian Church until October 9, 2016. 

Read Full Post »