Posts Tagged ‘trish brown’

Prism Theatre Company Explores “Doubt” in Fascinating, Thought-Provoking Drama

Posted in St Louis Theatre, tagged , , , , , , on April 27, 2023| Leave a Comment »

Doubt: A Parable
by John Patrick Shanley
Directed by Trish Brown
Prism Theatre Company
April 22, 2023

Jeffrey David Thomas, Rhiannon Creighton
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company’s latest production may be called Doubt: a Parable, but what’s certain here is its excellence. John Patrick Shanley’s Tony and Pulitzer Prize-winning play is a meticulously crafted, highly thought-provoking look at uncertain situations, the roots of suspicion, and the changing atmosphere in the Catholic church in the early 1960s. Onstage at the Kranzberg Arts Center, Prism’s production features expert staging, thoughtful pacing, and a first-rate cast that makes the already excellent script all the more compelling.

The story takes place at a Catholic elementary school in 1964, during the era of the Second Vatican Council that brought a lot of changes in the life of the Church and Catholic parishioners. Here, the main conflict is between a stern, traditionalist nun, Sister Aloysius (Kate Durbin), and a popular, progressive-minded young priest, Father Brendan Flynn (Jeffrey David Thomas).  The sister, who heads the school, is suspicious of the priest for a few reasons, but she becomes especially upset when Father Flynn has a private meeting with the school’s first Black student, about whose welfare she has been especially concerned. Even before this incident, however, she has instructed the young, enthusiastic young teacher Sister James (Rhiannon Creighton) to keep an eye on the priest, and her suspicions of misconduct on his part only grow as the plot plays out. Sister Aloysius even calls in the student’s mother, Mrs. Muller (Laurell Stevenson) for a meeting to share her concerns, and is met with an unexpected response revealing that Mrs. Muller’s has other reasons to be concerned for her son. As the central conflict plays out, we get to hear Father Flynn preach about the concepts of doubt and the dangers of gossip, as well as sharing his concerns with the highly conflicted Sister James, who has her own conflicts with the more severe older nun. Throughout the play, playwright Shanley is especially careful not to reveal too much, leaving the judgment of what has happened up to the audience, while also setting up credible situations and discussions of the conflicts between the “old” and “new” ways in the Catholic church, as well as real critiques of the hierarchy of the Church, and how the institution has handled accusations of abuse and misconduct that have been revealed over the years and have only become more well-known since the play’s first staging in 2005. 

This is a riveting, thoughtful, well-characterized drama, with excellent roles for all four of its players, all of whom excel in this production. Durbin’s Sister Aloysius is the driving force here, with a strong, severe but caring presence and an authentic-sounding New York accent that enhances her character rather than distracting. Durbin brings out the complexities in the character convincingly, and her influence on the equally excellent Creighton’s Sister James is palpable. Thomas is also impressive as the somewhat enigmatic Father Flynn, managing to convey both genuine concern for his students and the future of the Church, as well as a degree of self-interest and mystery that can lend credibility to Sister Aloysius’s concerns. Stevenson also makes a memorable impression in her relatively small role as Mrs. Muller–conveying the character’s own personal situation and concerns for her son thoroughly in one dramatic scene. 

The staging is inventive and thoughtful, using the small space at the Kranzberg Black Box theatre especially well. Matt Stuckel’s vivid set utilizes various areas of the performing space for ideal dramatic effect, aided by Tony Anselmo’s striking atmospheric lighting and Jacob Baxley’s excellent sound design. The costumes by Sam Hayes are also excellent, suiting the characters well and helping to set and maintain the time and place of the story. 

There’s also somewhat of a relational element to this play, considering the fairly large number of Catholic schools in the St. Louis area. No matter your religious or educational background, however, Doubt: a Parable has a lot to say, with its vivid characterizations and convincing performances telling a tale that’s sure to provoke much thought and discussion. Prism Theatre Company is still fairly new, but they are making their presence known with another excellent production. 

Kate Durbin, Laurell Stevenson
Photo by Kim Howland
Prism Theatre Company

Prism Theatre Company is presenting Doubt: a Parable at the Kranzberg Arts Center until April 30, 2023

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Prism’s “Bandera, Texas” Takes a Fascinating Trip Through Time, Geography, and Memory

Posted in St Louis Theatre, tagged , , , , , on August 28, 2022| Leave a Comment »

Bandera, Texas
by Lisa Dellagiarino Feriend
Directed by Trish Brown
Prism Theatre Company
August 26, 2022

Leslie Wobbe, Maggie Lehman, Jenni Ryan
Photo by Dan Steadman
Prism Theatre Company

A brand new St. Louis theatre company is making its debut with a world premiere play, and it’s a promising beginning for both. Bandera, Texas is a family comedy with a touch of drama and a side of fantasy. Staged in a relatively simple setting at the Kranzberg’s Black Box theatre, it focuses on relationships–between parents and children, husbands and wives, with a primary focus on resilient women in the midst of challenging circumstances, with an emphasis on hope and the definition of home. 

The set-up features two women, Italian immigrant Mary (Leslie Wobbe) and Irish-American Genevieve (Jenni Ryan), telling of their attachment to New York City, and how they knew they belonged there. Then, the scene shifts to a cluttered trailer in Texas, as pregnant, transplanted New Yorker Liz (Maggie Lehman) has just arrived with her Texas-born husband, Dave (Mike DePope), and is regretting agreeing to this life-changing move, returning to Dave’s hometown as he has been offered his dream job teaching and coaching at his old high school. Liz, whose New York City roots run deep, has difficulty dealing with the shock of the change, and the way it seems to be affecting Dave, until suddenly, she finds herself in the presence of both of her grandmothers, paternal Grandma Mary and maternal Nana Genevieve. The biggest shock here for Liz is that both grandmothers are no longer living, so they are either ghosts or figments of Liz’s imagination. That aspect isn’t made entirely clear, but it doesn’t really matter, because the point is that the grandmothers are here to help Liz sort out her thoughts and emotions about the jarring change in her living situation, her relationship with Dave, and the anticipation of raising a child in an unfamiliar location. The story in Texas is intercut with flashbacks from the lives of both grandmothers, and how they dealt with various challenges and changes, both good and bad, in their own lives. It’s a compelling story full of fascinating characterizations and even a little bit of mystery, as the lives of these women unfold and we see how they relate to Liz’s situation. 

The dialogue is credible and well-paced, with a humorous tone much of the time and moments of poignancy at key times. The characters are well-defined, as well, and brought to life vividly by the strong cast. As Liz, Lehman projects a likable “everywoman” quality, with a believable degree of angst over her situation. DePope’s Dave is also amiable, showing good chemistry with Lehman and doing especially well with some of the more comic moments. Both Ryan and Wobbe are excellent as the grandmothers, differing in personality but both tenacious in their own ways, showing a playful contrast with one another and a palpable care for their granddaughter, and the flashback scenes are especially effective. There’s also a remarkable versatile performance from Ryan Burns displaying an excellent range both comic and dramatic as a variety of men in the grandmothers’ lives, from husbands to sons, to coworkers, and more. The interplay between the various characters forms much of the appeal of this play, and the energy and pacing are just right, from the more whimsical humor to the quieter dramatic moments. 

The technical setup is simple, but effective, with Leah McFall’s set providing the framework that suggests the trailer that Liz and Dave have moved into, with appropriate changes to cleanliness and order as the story progresses and the couple settles in. The characters are well-outfitted by costume designer Rebecca Bailey, as well–especially the grandmothers, whose wardrobe does much to suggest their personalities and style. The lighting, designed by Erin Thibodeaux, works well to set the mood and atmosphere, especially in the flashback sequences to set them apart from the present-day scenes; and there’s also excellent sound design by Jacob Baxley. 

Bandera, Texas is a promising first production from a promising playwright and an exciting new local theatre company. It’s a compelling look at how location, family, and personal history shape a person’s life, as well as showing how generations of women persevere through various trials. It’s mostly lighthearted, with some truly heartfelt moments of poignancy along the way. From New York to Texas to St. Louis, this play makes a memorable impression. 

Mike DePope, Maggie Lehman
Photo by Dan Steadman
Prism Theatre Company

Prism Theatre Company is presenting Bandera, Texas at the Kranzberg Arts Center until September 4, 2022

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“The Revolutionists” Take the Marcelle by Storm in Insight’s Thoughtful Production

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

The Revolutionists
by Lauren Gunderson
Directed by Trish Brown
Insight Theatre Company
June 29, 2019

Jenni Ryan, Kimmie Kidd, Laurie McConnell
Photo by John Lamb
Insight Theatre Company

Insight Theatre is continuing its latest season with a play by one of today’s most recognized playwrights. Lauren Gunderson’s plays have been performed by many theatre companies around the country, and in St. Louis lately, including Insight who last year was one of two local professional companies who presented Gunderson’s Silent Sky. This time, the featured show is The Revolutionists, a four-woman play that presents itself as a comedy, but has some striking dramatic twists.

The play, like other Gunderson plays I’ve seen, has a structure in which character interactions are crucial. There’s a plot, revolving around the French Revolution and specifically the Reign of Terror, and some prominent figures from that time, along with a fictional character who is something of a composite. The central figure is early feminist playwright Olympe de Gouges (Jenni Ryan), who as the play begins is struggling with how to continue her latest work-in-progress. As she struggles with style, story, dramatic form, and the purpose of her play, she comes into contact with other women who challenge her perspective. These women include determined assassin Charlotte Corday (Samantha Auch) and conflicted former Queen Marie Antoinette (Laurie McConnell), as well as Haitian activist Marianne Angelle, who is fighting to end slavery in her home country, which was then under French rule. The women share their stories and struggles with one another, encouraging Olympe to own up to her own convictions and not give into fear. Although the setting is specific, the situations and structure make the conflict more universal. It’s about France, but it also isn’t. Essentially, it’s about standing up for what one believes in, and about women making their voices heard. The interplay between the characters and witty, pointedly contemporary dialogue serve to make this show both compelling and relatable, with well-drawn characters and some fun “meta” moments thrown in along with some poignancy and an increasingly dramatic tone as the story plays out.

It’s a play essentially about the French Revolution, but it’s also “out of time” in important ways, such as language and the way in which the characters relate to one another, which is decidedly modern. It also has aspects that remind me of another Gunderson play, I and You, in some key ways that will become apparent to those who have seen both plays (although these stories are very different in other ways). The presentation of the show is unconventional, in a way, in that it’s especially minimalist, with a set by Leah McFall that consists entirely of a few period-specific furniture pieces that are used to set the tone and mood, but with the simplicity of the space highlighting the experimental tone of the play. It’s presented in the round, as well, which works especially well for the small-ish space at the Marcelle. Also of note are the costumes by Julian King, which are richly detailed and which help to emphasize the differences in situation between the characters. There’s also excellent use of lighting by Morgan Brennan that adds drama in some key scenes, and sound by Bob Schmit that provides essential context for the piece.

Even with its excellent technical aspects, the biggest asset of this production is its superb cast, led by Ryan in an impressively relatable turn as the show’s main viewpoint character, Olympe. In the midst of conflict and challenge, Ryan makes Olympe’s concerns and fears credible. She also shows strong chemistry with her castmates, who also give memorable performances. McConnell, as probably the best known character in the play, is especially strong, bringing a sense of real depth to a character who is portrayed as more complex than popular history has often painted her. It’s a winning portrayal. Kidd, as the idealistic Marianne, is also a strong presence, as is Auch in an intense portrayal as the single-minded Charlotte. It’s a impressive cast all-around, with excellent energy and rapport.

This is a play I didn’t know much about before seeing it, except for knowing a little about the history and having seen some of the playwright’s other plays. Overall, I think The Revolutionists holds up with Gunderson’s best work. It may not be the most detailed in terms of history, but I don’t think it’s trying to be. It’s more about the characters and the points they are making, which revolve around women maintaining the courage of their convictions. At Insight, it’s a dynamically staged, impeccably cast production that’s sure to provoke some compelling conversations. It’s definitely one to check out.

Jenni Ryan, Samantha Auch, Kimmie Kidd
Photo by John Lamb
Insight Theatre Company

Insight Theater Company is presenting The Revolutionists at the Marcelle Theatre until July 14, 2019

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Strong Performances Distinguish “On Golden Pond” at Insight

Posted in St Louis Theatre, tagged , , , , , on July 13, 2017| Leave a Comment »

On Golden Pond
by Ernest Thompson
Directed by Trish Brown
Insight Theatre Company
July 7, 2017

Susie Wall, Joneal Joplin
Photo by John Lamb
Insight Theatre Company

On Golden Pond is a play that’s perhaps best known by its film adaptation, starring movie legends Henry Fonda and Katharine Hepburn. The play itself has been seen as a showcase for distinguished peformers, and Insight’s latest production is a prime example, featuring a cast of excellent and award-winning local performers, and particularly in its two lead roles, played by the talented and prolific Joneal Joplin and Susie Wall.

This is a play that’s more character-driven than story-driven. The story is fairly slight, in fact. It’s a look at a long-married couple spending the summer at their lake house in Maine, like they have for the previous 47 years. Norman Thayer, Jr. (Joplin) is a retired university English professor, and he’s become increasingly curmudgeonly as he approaches his 80th birthday. His more optimistic wife, Ethel (Wall), grows weary of Norman’s constant talk about death and his strained relationship with their middle-aged daughter, Chelsea (Jenni Ryan), who has come to visit for Norman’s birthday with her new boyfriend, dentist Bill (Eric Dean White) and his 15-year-old son Billy (Michael Pierce) in tow. The “story” here is about the relationships, and how Norman and Ethel come to terms with aging and with the reality of the idea that each new summer at Golden Pond may be their last. It explores themes of aging, regret, broken and reconciling relationships, inter-generational friendships, and more while providing an excellent showcase for the actors involved.

And “the actors involved” are remarkable. Joplin, one of St. Louis theatre’s most prolific actors for the past few decades, has an ideal role here with Norman. Despite the more unsavory aspects of the character–his negativity and particularly his casual bigotry–Joplin’s considerable skill as an actor brings out the sympathy in Norman’s situation, and particularly in his relationships with Ethel, Chelsea, and Billy. Wall matches Joplin in every way as well in a formidable portrayal of the insistently, persistently optimistic Ethel, and their chemistry is heartwarmingly credible. There are also strong performances from the supporting cast–Ryan as the wounded but hopeful Chelsea, Pierce as the initially moody Billy–who bonds with Norman over fishing–White in the small role of the loyal new boyfriend Bill, and also from Kurt Knoedelseder as the sweet, slightly goofy local mailman Charlie, who grew up in the area and knows the family well.

The setting is well-realized, with Matt Stuckel’s detailed set bringing the rustic summer home to life with meticulous authenticity. The digital screen serving as the picture window overlooking the lake provides a nice atmospheric touch, and Robin Weatherall’s sound design contributes to the overall effect as well, as does Geordy Van Es’s lighting. My only small quibble is that the script, written in the late 1970s, doesn’t always lend well to the updating of the setting to the present day, as this production has done. Some of the dialogue and situations make more sense with the earlier setting.

There’s drama and a good amount of humor in On Golden Pond, with its somewhat talky story and with those richly portrayed characters, with the lake house itself becoming a prominent character as well. There isn’t a lot in terms of action, but at its best, it’s a moving look at aging, youth, family, and the power of memory and hope. The heart of the show, however, is the relationship between Norman and Ethel, which is touchingly portrayed here by two superb veteran St. Louis performers.

Jenni Ryan, Susie Wall
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting On Golden Pond at the .Zack Theatre until July 23, 2017.

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John & Jen at Insight is an Intriguing Character Study

Posted in St Louis Theatre, tagged , , , , , , on July 21, 2016| Leave a Comment »

John & Jen
Book by Andrew Lippa and Tom Greenwald
Lyrics by Tom Greenwald, Music by Andrew Lippa
Directed by Trish Brown
Insight Theatre Company
July 15, 2016

Spencer Davis Milford, Jenni Ryan Photo by John Lamb Insight Theatre Company

Spencer Davis Milford, Jenni Ryan
Photo by John Lamb
Insight Theatre Company

Brother and Sister. Mother and Son. These are important relationships to which many theatre goers will be able to relate, dealt with in Andrew Lippa and Tom Greenwald’s two-person musical John & Jen, which is currently being presented by Insight Theatre Company. The production is well-cast, for the most part, and provides an intriguing look at one woman and two important relationships in her life.

The story features two performers playing the characters at various ages and stages of their lives. Jen Tracy (Jenni Ryan) is six years old when her brother John (Spencer Davis Milford) is born, and we get to see the dynamics of their relationship as both grow up and learn to deal with the world around them and with a domineering, sometimes violent father. Jen’s wish to protect her brother conflicts with her desire to get away from her hostile home environment, and as she goes to college in the 1960’s and gets caught up in anti-war activism, John stays home under the influence of his father and eventually finds his own views about the war and life conflicting with Jen’s. This relationship has a profound impact on Jen, who later names her own son (also Milford) after her brother. We get to watch as Jen becomes a loving but sometimes overprotective mother, and as young John grows and learns to assert his own independence. The mother-son relationship is alternately strong and strained, as Jen learns to deal with her own personal issues regarding her brother and how she relates to her son.

There isn’t a lot more detail I can go into without spoiling too much, but essentially this is a character study. The primary focus is on Jen, with relationships with her brother and son providing insight into her own issues of attachment, guilt, and conflict about how to be a good mother to her son. The two performers give strong performances, with both convincingly portraying the characters at different ages, and with Milford especially doing an excellent job distinguishing between the two characters he plays, both named John. Milford also has a strong singing voice, performing the show’s songs well and displaying a great deal of energy on songs like “Dear God”, “Little League”, and “Bye Room”. Ryan, while giving a convincing acting performance, sometimes struggles with the singing, particularly as many of the songs seem a little to high for her range. Both performers portray convincing relationships, first as brother and sister, and then as mother and son, and the conclusion of the play is particularly affecting.

The show is performed on a minimalist set designed by Kyra Bishop–consisting of a series of ramps, platforms, a wall, and a swing– that provides an effective backdrop for the action of the show. There’s also excellent use of projections–also designed by Bishop and filmed by David Sanford–and Leah McFall’s excellent costumes to effectively portray the changing times as the story moves from the 1950’s and eventually into the 1980’s.  There’s also excellent lighting from Oliver Littleton and sound by Brett Harness.

John & Jen provides a lot for audience to think about, although the underlying message can be unclear at times. For the most part, though, this is a vivid, interesting character study looking at three people over the course of four decades of American history. Although the history is there as a backdrop, this is primarily a personal story, and as that it’s compelling to watch.

Spencer Davis Milford, Jenni Ryan Photo by John Lamb Insight Theatre Company

Spencer Davis Milford, Jenni Ryan
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting John & Jen at Nerinx Hall’s Heagney Theatre until July 31, 2016.

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Insight Presents a Timely, Thought-Provoking “Spinning Into Butter”

Posted in St Louis Theatre, tagged , , , , , on September 4, 2015| Leave a Comment »

Spinning Into Butter
by Rebecca Gilman
Directed by Trish Brown
Insight Theatre Company
August 29th, 2015

John Contini, Kurt Knoedelseder, Jenni Ryan, Erin Kelley Photo by John Lamb Insight Theatre Company

John Contini, Kurt Knoedelseder, Jenni Ryan, Erin Kelley, John J. O’Hagan
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company’s season-ending production, Spinning Into Butter, deals with important issues that are more timely than ever in today’s world. It’s a well-structured play given an impressive presentation at Insight. With a strong cast and excellent production values, this play is sure to make audiences think.

In this play, playwright Rebecca Gilman has set this very issue-oriented story into specific context. The central figure, Sarah Daniel (Jenni Ryan), the Dean of Students at a small Vermont college, deals with the struggles of how to confront various situations that arise among students of color at her predominantly white college. There’s Patrick Chibas (Rahames Galvan), who qualifies for a scholarship but is uncomfortable with the categories regarding ethnicity on the application form. There’s also the unseen Simon Brick, an African-American student who has been receiving hateful anonymous messages.  When Sarah brings in her fellow academics to deal with the crisis, their answers are problematic, to say the least. These situations set in motion a series of events that eventually leads to Sarah’s confronting herself and her own attitudes.

This is a well-structured play, presenting Sarah as a well-meaning but somewhat confused academic official surrounded by others who don’t help the situation. There are two figures who serve as more reasonable sounding boards–professer Ross Collins (John J. O’Hagan), who has complicated personal relationship with Sarah; and Mr. Meyers, the campus security officer who acts as something of an unofficial spokesperson for Simon. The antagonists are Deans Catherine Kenney (Erin Kelley) and Burton Strauss (John Contini), who often appear to be more concerned with the college’s reputation–or their own–than the needs of the students.  There’s also a young student, Greg Sullivan (Elliot Auch), who presents something of an enigma, in that his role in the story turns out to be much different than I was expecting. The issues raised here are complicated and vital, but the purpose here seems more to be a cause for reflection than anything else. Gilman doesn’t give easy answers, presenting subjects for drama and thought rather than offering easy solutions, since there are none to give.

The performances here are strong, led by the personable Ryan as Sarah, who goes on an obvious emotional journey through the course of the story. As the character begins to ask some extremely tough questions of herself, Ryan makes this process believable. She plays well opposite O’Hagan, who is likable as the conflicted but concerned Ross. Contini and Kelley are both memorable, giving a measure of depth to their roles as stuffy academics. Galavan, Auch, and Knoedelseder are all convincing in their roles, as well, with Knoedelseder emerging as probably the play’s wisest voice, and Auch convincingly portraying a character whose motives change in a somewhat surprising way.

As is usual for Insight, the technical aspects of this production are strong. The set, by Jeffrey Behm, is an appropriately detailed representation of a well-appointed academic’s office.  Tracey Newcomb’s costumes suit the characters well, the the sound (by Robin Weatherall) and lighting (by Paige Seber) are suitably effective.  The scene changes can occasionally last a little too long, but I hope that’s a detail that can be ironed out as the show’s run continues.

The most important conclusion that can be drawn from this play is that these topics require honest thought and dialogue. A show like this is there to simply help start the discussion. Insight’s well-staged production does that about as effectively as I can imagine, with a strong cast and staging that manages to take issues out of the realm of the theoretical and make them effectively personal.

John J. O'Hagan, Jenni Ryan Photo by John Lamb Insight Theatre Company

John J. O’Hagan, Jenni Ryan
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company’s production of Spinning Into Butter runs at the Heagney Theatre at Nerinx Hall in Webster Groves until September 13th, 2015.

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