Posts Tagged ‘upstream theater’

“End of the World” Sings, Dances and Satirizes in Whimsical Fashion at Upstream

Posted in St Louis Theatre, tagged , , , , , , , on April 20, 2026| Leave a Comment »

The End of the World Cabaret
by Jura Soyfer, Adapted by Philip Boehm
Music by Paige Brubeck
Directed by Lizi Watt
Upstream Theater
April 17, 2026

Chris Tipp, Amarachi Kalu, John Flack, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

At least in terms of the premise, Upstream Theater’s latest production reminds me of the recent film Don’t Look Up, although it was originally written decades earlier. Austrian playwright Jura Soyfer was writing a few years before the beginning of World War II, but many of the themes in his show, The End of the World Cabaret, are surprisingly timely, although not quite as bleak as more modern “end of the world” works tend to be. It’s been adapted by Upstream’s Philip Boehm, and directed by Lizi Watt, featuring a lively cast and stellar (pun intended) production values. 

This is also a musical, with a catchy score by local musician Paige Brubeck of Sleepy Kitty, and beginning with a lively song sung out in space by the Sun (Jane Paradise) and several of the colorfully attired planets, including Mercury (Caitlin Mickey), Venus (Isaiah Di Lorenzo), Saturn (Amarachi Kalu), the erratic Pluto (Ashwini Arora), and Earth (Sarah Wilkinson), who has become “out of step” with the other planets to the point in which the Sun suggests something drastic. After consulting with the Moon (John Flack), the planets enlist a passing comet named Konrad (Chris Tipp) to alter his course and rid the planet of the troublesome humans who live there. As the comet hurtles toward Earth, the perspective shifts to the surface, where the impending apocalypse becomes front page news, and Professor Peep (also Tipp) is charged with inventing a machine to deflect the comet. Peep is earnest and persistent, but the problem is that the various leaders seem more interested in their own reputations and propaganda than actually saving the planet. Of course, there are also enterprising companies and millionaires who exploit the occasion for their own benefit, all the while not seeming to grasp the seriousness of the threat. The tone is satirical and largely comic, but there is an underlying sense of desperation and futility as Peep makes his way around the world in search of someone, anyone, who will help him build his machine. It all seems hopeless, but is it really?

There’s a lot to think about here, and many, many parallels to today that are emphasized in this adaptation, although the overall vibe is also very 1930s in look, style, and attitude. I won’t spoil the ending, but I will say that the show comes across as both a celebration and a criticism of humanity, with their creativity and energy on one level, and self-interest and greed on another. The overall whimsical vibe is carried off especially well in the production design, from Patrick Huber’s colorful and creative set to Max Florida’s scenic painting, Maria I. Straub’s props, and the wonderfully vibrant costumes by Meredith LaBounty and Anabel Weiland that feature both wildly fanciful and period appropriate outfits, as the characters and situations demand. There’s also excellent work from lighting designer Steve Carmichael, contributing to the overall whimsical and increasingly tense tone as the story goes on. Aidan Siliceo-Roman’s sound is also strong, as is Joe Schoen’s music direction and Dawn Karlovsky’s vibrant choreography.

As for the performances, they are fantastic, led by Tipp in a remarkably versatile performance as the determined, increasingly frustrated Peep and as the intrepid, personable guitar-toting comet Konrad. Tipp’s presence, energy, and vocals are highlights, as are the vocals from Mickey in an operatic moments;, Paradise as the Sun and various roles;, Flack as the personable Moon and others; Di Lorenzo as a passionate Venus; Wilkinson in several roles including the melancholy Earth; Kalu and Blindauer also in a variety of roles from planets to performers; and Arora in several roles including a friendly pup and the flighty Pluto.  The entire ensemble works together with enthusiasm and excellent timing, in the general satirical spirit of the show, while also carrying across the more weighty moments when they occur.

The End of the World Cabaret is a show that’s bound to provoke lots of thought and conversation, and the comparison between the 1930s mindset and today’s is especially notable. All the cultural references thrown in add to the laughter, and there’s much to ponder on the nature and worth of humanity as well. It’s a witty, challenging, entertaining production.

Isaiah Di Lorenzo, Caitlin Mickey, Jane Paradise, Patrick Blindauer, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater

Upstream Theater is presenting The End of the World Cabaret at the Marcelle until May 3, 2026

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Excellent Cast, Timing Make for Much Hilarity in Upstream’s Fast-Paced “Ostrich”

Posted in St Louis Theatre, tagged , , , , , on January 26, 2026| Leave a Comment »

Myth of the Ostrich
by Matt Murray
Directed by Jane Paradise
Upstream Theater
January 23, 2026

Wendy Renée Greenwood, Jenelle Gilreath Owens, Pamela Reckamp
Photo by Patrick Huber
Upstream Theater

Myth of the Ostrich is a fast-paced comic play by Canadian playwright Matt Murray that Upstream Theater’s artistic director Philip Boehm decided to stage after seeing a production in Warsaw, Poland. Fittingly, the show is part of Upstream’s season themed “When Worlds Collide”, which applies both to Boehm’s discovery of the play and its plot. Directed with a perceptive eye toward pacing and characterization by Jane Paradise, the show features excellent timing and a first-rate cast that brings life and much laughter and heart to a plotline that, while not exactly unique, highlights empathy and insight in the midst of the riotous laughter. 

The basic setup isn’t new–it’s the familiar formula of disparate characters from different backgrounds being brought together and each learning something about one another and about themselves. Here, we meet Holly (Wendy Renée Greenwood), a writer from Boston and single mom who is struggling with her latest project.  She’s suddenly interrupted by an unexpected visit from Pam (Jenelle Gilreath Owens), who is seeking to meet Holly, since Pam’s son Evan has been spending a lot of time with Holly’s kid, and Pam’s snooping in her son’s room has led her to believe they’re more than just friends. Holly, who knows Evan well but hasn’t met Pam, is surprised when the Wisconsin-transplant and very “traditional”, devout Catholic Pam reveals that she doesn’t know quite as much as she thinks she knows. While Holly tries to deal with the communication mix-ups, her brash best friend Cheryl (Pamela Reckamp) shows up, bearing “treats” and full of crass stories and language that make the already nervous Pam even more uncomfortable, and makes the situation even more awkward for Holly.  Soon, while it’s been heavily implied that  Cheryl’s baked goods are more than just ordinary snacks, Pam–who has been craving sugar after having cut it out of her diet for two weeks–hasn’t picked up on the hints, and is tempted to try one. What ensues is an energetic blend of physical comedy, awkwardness, revelations, and surprising bonding moments that demonstrate the importance of empathy and communication while also providing memorable characters and outrageous laughter from start to finish. 

The cast is simply fantastic. All three characters are perfectly cast. Greenwood, as Holly, is the most “down to earth” of the three, portraying Holly’s gruff-but-caring personality with admirable restraint, as much of the character’s personality is revealed in reacting to the others’ more over-the-top moments, while also trying to maintain composure. Reckamp is a hoot as the crass and mischievous Cheryl. Her bond with Holly is obvious from the beginning, portraying a credible friendship, and the contrast with Owens’s initially more stuffy, naive Pam adds to much of the play’s humor. Owens is a scene-stealer as Pam, providing a layered characterization that rises above stereotypes, revealing a loneliness to Pam’s character–and increasing frustration with her unseen lawyer husband–to whom she talks on the phone–as well as more surprises and a marvelous flair for physical comedy as the story plays out. All three performers work together well, displaying strong ensemble energy and enthusiasm, as well as excellent timing, adding much humor as well as believable emotion as the story moves on to a somewhat abrupt but essentially satisfying conclusion.

The atmosphere of the play is well-maintained by means of Patrick Huber’s detailed, “lived-in” set and Michele Friedman Siler’s excellent costumes, which suit the characters ideally. There’s also strong work from sound designer Ellie Schwetye, and lighting designer Denisse Chavez. Although there was an announcement prior to opening that there was some trouble with the lights, whatever the issue was didn’t detract from the show or the overall atmosphere and mood. There’s also admirable work from dialect coach Lauren Roth, as the Wisconsin and Boston accents sound credible and consistent. 

This is a fun show, with lots of outrageous comedy, as well as real credible connections and emotion. It’s not an all-ages show, with strong language, drug references and frank talk about sex, so that’s worth keeping in mind. Myth of the Ostrich is ultimately a character driven, energetic show that addresses some timely issues and serves as an excellent showcase for a truly great cast.

Jenelle Gilreath Owens, Wendy Renée Greenwood
Photo by Patrick Huber
Upstream Theater

Upstream Theater is presenting Myth of the Ostrich at the Marcelle Theatre until February 8, 2026

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Upstream’s “Orchard for Chekhov” is a Bittersweet, Thoughtful Showcase for Strong Cast

Posted in St Louis Theatre, tagged , , , , , on November 14, 2025| Leave a Comment »

An Orchard For Chekhov
by Pedro Brício
Translated by Steven K. Smith
Directed by Philip Boehm
Upstream Theater
November 8, 2025

Sally Edmundson, J. Samuel Davis
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s mission of bringing thought-provoking plays from around the world to St. Louis is continuing with their latest production, An Orchard for Chekhov, by Brazilian playwright Pedro Brício, translated by Steven K. Smith and directed by Philip Boehm. This intriguing show examines the relationships between fantasy and reality, the arts and the harsh realities of life, along with culture clashes and familial struggles. Featuring a strong cast led by two especially memorable performances, it’s an intriguing, thoughtfully staged show.

The play is led by a truly dynamic and richly characterized performance by Sally Edmondson as Alma Duran, a well-known stage actress who is between jobs and has come to stay with her daughter Isadora (Jocelyn Padilla) and son-in-law Otto (Aaron Orion Baker) in their small apartment in Rio de Janeiro. Alma, who is hoping to soon star in a production of Anton Chekhov’s The Cherry Orchard, has taken on a young theatre student, Lalá (Sarah Wilkinson) in order to make some money while she’s between roles. As physician Isadora and police captain Otto deal with issues in their relationship, and Isadora worries about her mother’s health, the future of Alma’s upcoming production comes into doubt, and Alma finds herself wandering the grounds of her daughter’s building, where she meets a mysterious man (J. Samuel Davis) who claims to be Chekhov himself, and despite Alma’s initial skepticism, the two form a friendship, giving Alma some hope while the rest of the characters–and especially Isadora–continue to worry about her. What ensues is a blend of comedy and drama with hints of tragedy, kind of like The Cherry Orchard, and–in the hands of the excellent cast and direction–an ideal acting showcase for its leads.

As previously mentioned, Edmundson gives a marvelous, well-rounded performance as Alma, balancing humor and drama well and making the most of the dialogue with her deep, melodious voice. Alma is the heart of this story, and Edmundson makes the most of that fact with a likable, relatable turn as an aging performer looking to maintain her career and her theatrical vision. Davis is also a joy as Chekhov, who may be a vision or an impostor or a figment of Alma’s imagination, but whatever he is, his chemistry with Edmundson is delightful, and his presence drives important aspects of the plot. These two are the biggest standouts, but the rest of the cast is also strong, although the part of Isadora seems a bit one-note, although that seems to be more of a writing issue, and Padilla makes the most of the role. Baker is memorable finding the sympathy in the troubled Otto, and Wilkinson has a fine turn as the hopeful young talent, Lalá, coming across as both passionate towards her goals and compassionate toward Alma and her family. 

The creative team does an excellent job of creating the world of the show, as well, with Patrick Huber’s vivid set credibly creating the vibe of an urban beachfront condo development, and Jamey Pearson’s scenic painting,  Steve Carmichael’s lighting and Kristi Gunther’s sound help further the mood and setting. There’s also excellent work from costume designer Michele Friedman Siler in outfitting the characters appropriately, especially in the stylish flair of Alma’s outfits, which say a lot about her character and personality. Kudos also go to samba consultant Márick Starick, as the dance elements add much to the overall atmosphere of show.

Overall, while there are a few issues involving the interweaving of some of the plots and communicating of some background information, An Orchard for Chekhov is a fascinating, well-characterized play with a first-rate leading performance. It explores aspects of Brazilian culture as well as life in the theatre, and themes from Chekhov that parallel the main story. It may be helpful to read or see The Cherry Orchard before seeing this play, or at least read a synopsis. Again, I can’t say enough about the quality of the performances here, especially Edmundson and Davis. It’s a master-class in acting, as is fitting for a show about theatre. 

Sarah Wilkinson, Jocelyn Padilla
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting An Orchard for Chekhov at the Marcelle Theatre until November 23, 2025

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Upstream Takes a Harrowing, Symbolic Journey in “Meet Me at Dawn”

Posted in St Louis Theatre, tagged , , , , , on April 19, 2025| Leave a Comment »

Meet Me at Dawn
by Zinnie Harris
Directed by Larissa Lury
Upstream Theater
April 12, 2025

Michelle Hand, Lizi Watt
Photo by ProPhotoSTL
Upstream Theater

Two people are stranded on an island–or is it really an island? Waves crash against sand, and the couple try to figure out what’s happening, and how to get back home. That’s essentially the setup for Zinnie Harris’s highly symbolic, heavily emotional play Meet Me at Dawn, which is currently being staged by Upstream Theater at the Marcelle, directed by Larissa Lury and starring two excellent local performers, Lizi Watt and Michelle Hand. Mystery is an important element of this relatively short but powerful story, but what isn’t mysterious at all is the obvious talent on display in this fascinating, remarkable production.

As the play begins, Robyn (Watt) seems to be stranded in an unspecified space, isolated and starkly lit, but when her partner Helen (Hand) appears, it becomes clear that they are stranded on a beach after a boating accident. Both are soaking wet and confused, trying to figure out where they are and how to get help. As the story progresses, it soon becomes clear that not everything is as it may seem, as the two encounter an evasive woman who speaks oddly (acted by both performers in turn), and doesn’t seem to be able to help. Robyn especially seems mixed up, soon finding herself confronting memories that don’t seem to match up with what is happening. As the two take stock of their lives together, and desperately try to find their way back home, new revelations make it increasingly obvious that there is more going on here than first meets the eye. It’s a profound emotional journey exploring aspects of hope, disappointment, attachment, and especially grief.

I can’t explain much more because I don’t want to spoil it, but this is a compelling and multi-layered, symbol-filled journey into the minds and hearts of these characters, remarkably acted by Watt and Hand, who make a credible couple and who both make memorable impressions on this harrowing, thoughtfully constructed journey of discovery and denial; reminiscence and regret. In terms of emotional expression, drama and moments of humor, these two hit all the beats with just the right emotional resonance, and it’s a fantastic turn from both, who manage to be compelling and all the more relatable as what is actually happening becomes even more clear. 

The sensory experience is also profoundly affecting, with Patrick Huber’s blend of abstraction and realism in the detailed set forming an ideal base for the action, and Tony Anselmo’s fantastically realized, evocative lighting adding much to the overall emotional power and enigmatic tone of the story. There’s also excellent work from Lou Bird on costumes and Kristi Gunther on sound. Also, the universal nature of a lot of the emotions, along with the “out of time” feel of a lot of the story, is emphasized in the wise choice not to use British accents here, even though the language of the play makes it clear that the playwright is UK-based. 

Meet Me at Dawn is a thoughtful, emotional experience. It’s a cleverly constructed tale that makes the most of its roughly 90-minute runtime to explore aspects of love and grief with remarkable sensitivity and richly drawn characters. It’s a show that you just might find yourself thinking about for a long time after you leave the theatre. 

Lizi Watt, Michelle Hand
Photo by ProPhotoSTL
Upstream Theater

Upstream Theater is presenting Meet Me at Dawn at the Marcelle until April 27, 2025

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Excellent Cast Paints Memorable “Pictures” at Upstream

Posted in St Louis Theatre, tagged , , , , , , on January 30, 2025| Leave a Comment »

Pictures From a Revolution
by Tino Caspanello
Translated by Haun Saussy
Directed by Philip Boehm
Upstream Theater
January 24, 2025

Andre Eslamian, J. Samuel Davis, Lizi Watt, Isaiah DiLorenzo
Photo by ProPhotoSTL
Upstream Theater

Protest and revolution are on stage currently at Upstream Theater, along with a strong dose of cynicism, satire, and character study, with a backdrop formed by classic works of art. Pictures From a Revolution, from playwright Tino Caspanello–translated by Haun Saussy and directed by Upstream’s Philip Boehm–is an intriguing look at revolutionary fervor and idealism, power dynamics and greed, and how human nature can affect even causes whether noble, nebulous, or nefarious. At Upstream, this fast-moving but reflective play features impressive production elements and a strong cast of local performers for fascinating–and often surprisingly hilarious–evening of theatre.

The setting is in an unnamed city in an unnamed country, where three holdouts of an essentially dying revolutionary movement–rebelling against an unseen oppressive government–keep watch over their base at an abandoned stadium. These three men are known by their numbers rather than names. There’s the leader of the group, 892 (Isaiah DiLorenzo), who holds on to the group’s rulebook and touts it with insistent fervor; along with the group’s oldest member, 584 (J. Samuel Davis), who is also devoted if somewhat weary; and the youngest, 137 (Andre Eslamian), who is earnest and determined. Although the three are still dedicated to their somewhat nebulous cause, a sense of distrust has begun to show in their relationships with one another, especially for the increasingly suspicious 892. Soon, after 584 is sent out to catch a cow for food, he returns having apparently caught a Woman (Lizi Watt) by accident. Or is it really an accident? As the Woman insinuates herself into the group, apparently supporting their cause, the men become more an more suspicious of one another, and elements of the group’s history are revealed and the story marches steadily toward a seemingly inevitable conclusion. 

The action is presented essentially in a series of tableaux based on famous works by artists such as Rembrandt, Manet, Caravaggio, Van Gogh, and others, and punctuated by hummed snippets of “The Internationale” between scenes to maintain the “revolutionary” atmosphere. The staging is striking, with a vivid set by Patrick Huber–featuring scenic painting by David Schuman–that manages to evoke both the idealism and the futility of the movement, along with excellent mood lighting by Steve Carmichael and evocative sound design by Boehm and Huber. Michele Friedman Siler’s costumes are also memorable, reflecting the characters and the dystopian world they live in with appropriate vividness. The pacing is timed well, with moments of reflection, waiting, and urgency as needed, and the the characters are richly drawn.

Those characters are impeccably played by a strong cast, with DiLorenzo, Davis, and Eslamian all having their memorable moments as the three zealous devotees who try to keep their cause alive, but struggle with lack of resources, rejection by their former allies, and that growing sense of distrust amongst themselves, which is further encouraged by the addition of Watt, who is terrific as The Woman, whose motives aren’t always clear–by design.  DiLorenzo, as the fiery, increasingly suspicious 892, gives a dynamic performance, and he’s matched by Davis as the well-meaning but weary 584, and Eslamian as the somewhat goofily earnest 137. The relationship dynamics between all four cast members are terrific, bringing out a good deal of humor as well as a growing sense of tension. 

Pictures From a Revolution isn’t a long play–running about 90 minutes with no intermission. Still, there is plenty of time here for a fascinating, fast-moving examination of the conflict between utopian idealism and the realities of the baser aspects of human nature. It’s certainly food for thought, and the focus on the paintings gives it an artistic flair that provokes even more thought and reflection. It’s another intriguing St. Louis premiere from Upstream Theater. 

Isaiah DiLorenzo, Lizi Watt, J. Samuel Davis, Andre Eslamian
Photo by ProPhotoSTL
Upstream Theater

Upstream Theater is presenting Pictures From a Revolution at the Marcelle Theatre until February 9, 2025

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Simple, Effective Staging, Memorable Cast Highlight Upstream’s Classic “Dream”

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

Life is a Dream
by Pedro Calderón de la Barca
Translated by G.J. Racz
Directed by Philip Boehm
Upstream Theater
October 18, 2024

Jerry Vogel, Reginald Pierre
Photo by ProPhotoSTL.com
Upstream Theatre

Upstream Theater is known for its St. Louis premiere productions, as well as highlighting shows from around the world. I don’t know if its latest show, Life is a Dream, is a local premiere, but it’s likely to be the first exposure to this Spanish classic for a lot of local theatregoers. It’s a classic work of theatre written by a playwright who has been referred to as “the Spanish Shakespeare”, although it doesn’t seem to be as well known in the USA as it should be. Whether you are familiar with this work or not, the production at Upstream, translated by G.J. Racz and directed by Philip Boehm, is an energetically staged, well-cast production that’s sure to provide an ideal introduction to the uninitiated (like myself).

The play has somewhat of a complex blend of subplots and characters. Although this is a Spanish play, the setting is in Poland, in the court of the fictional King Basil (Jerry Vogel), who has been influenced by fear of bad omens concerning his only son and heir, Segismund (Reginald Pierre). Because of his interpretation of certain weather patterns and other signs, Basil has been afraid that his son will become a tyrant if he is allowed to rule, so the king has locked the prince up in a tower to be raised by his tutor Clotaldo (Gary Glasgow). Not surprisingly, the young man has grown up bitter and confused, and although the King has designs to leave his throne to the Duke of Moscow, Astolf (Mitchell Henry-Eagles)–whom he has agreed to allow to marry his niece, Stella (A. J. Baldwin)–Basil has become overcome with remorse, deciding to summon Segismund to court and reveal his identity, to see how he will react to his newly disclosed royal position, with the plan to just tell him its all a dream and send him back to the tower if he reacts badly. That sounds like a great idea, right? Meanwhile, a Russian noblewoman, Rosaura (Jennifer Theby-Quinn) has shown up at the tower disguised as a man and accompanied by her servant, Clarion (Alan Knoll), meeting Segismund and Clotaldo before they are taken to court, and without knowing that Clotaldo has a secret that directly affects Rosaura, who in turn has unfinished business with Astolf. All these stories weave together in complicated and sometimes surprising ways involving secrets, hidden identities, confusion between dreams and reality, and more. It’s a fascinating show that can be a little confusing at times, and the ending will certainly be fodder for debate, but I won’t say more because that will spoil the drama.

While this is mostly a drama, there is a fair amount of comedy, as well as some action in the form of well-choreographed fights directed by Michael Pierce, who along with Bryce A. Miller, plays a variety of “guards, servants, and soldiers”. The set is simple but striking, designed by Patrick Huber and consisting of a slatted wooden platform with an ethereal backdrop, lit with whimsical flair by Steve Carmichael. There are also remarkably detailed costumes by Michele Friedman Siler and excellent sound design by Philip Boehm and Sabria Bender. The production looks period-specific and distinctive, adding much to the overall effect of the production.

The cast is first-rate, led by standout turns from Vogel as the conflicted King Basil, Pierre as the constantly frustrated but determined Segismund, Glasgow as the secretive but loyal Clotaldo, and Theby-Quinn has the persistent Rosaura. Henry-Eagles and Baldwin are also memorable as Astolf and Stella, and Knoll is a delight as the devoted but hapless Clarion, who has many of the show’s best comic moments, but also some memorable dramatic moments. Pierce and Miller lend strong support in their various roles, as well. It’s a strong ensemble all around, and the brisk staging helps to maintain the flow of the many interwoven plots. There are some slower, talkier moments, but for the most part, this is play that moves fairly quickly despite its fairly long running time.

Life is a Dream is considered an international classic of theatre, but I have to admit I wasn’t familiar with it before seeing this production. Upstream Theater does an excellent job of introducing works like this that should be better known to audiences in St. Louis. And their productions are staged with consistent excellence. This production at the Marcelle is a wonderfully cast, cleverly staged show that’s both entertaining and thought-provoking. It’s a thoroughly intriguing theatrical experience. 

Jennifer Theby-Quinn, Gary Glasgow
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theatre is presenting Life is a Dream at the Marcelle Theatre until November 3, 2024

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Upstream’s “Marlboro Man” is an Intriguing, Cleverly Staged Drama

Posted in St Louis Theatre, tagged , , , , , on April 20, 2024| Leave a Comment »

Don’t Wait for the Marlboro Man
by Olivier Garofalo, Translated by Philip Boehm
Directed by Philip Boehm
Upstream Theater
April 12, 2024

Isaiah Di Lorenzo, Caitlin Mickey
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater’s latest production is notable at first glance for its simple but memorable set, giving the audience something to think about before the play even begins. Don’t Wait for the Marlboro Man is a US premiere that presents a story that’s at once highly personal and relatable to modern society. With a convincing cast and clever staging, this is an intriguing show that provides much to ponder and discuss.

The show is presented in an unusual manner, as something of a “living script”, with Eric Conners onstage as a sort of observer, reciting many of the stage directions as the story plays out. That story involves Sarah (Caitlin Mickey), an ambitious businesswoman who is anxiously waiting in what appears to be a hospital waiting room. While her fiancé is undergoing surgery after having been critically injured in a motorcycle accident, Sarah waits for news not only of her unnamed fiancé’s health, but also of an apparently urgent business matter. She is joined in the waiting room by Pedro (Isaiah Di Lorenzo), who apparently was a witness to the accident and knows a lot about Sarah, even though she says she hasn’t met him before.  Although she is wary of him at first, they are soon engaged in conversation about everything from the accident, to Sarah’s career goals, to junk food, life priorities, and the habits and behaviors of ants. There’s a suggestion that Sarah might be involved in something dangerous and shady, and that she’s neglected her fiancé to focus on her job. There’s also some question about who Pedro is exactly, and why he is really there in the waiting room. 

The staging is inventive, with a set by Mike Loui that sets the action in something of an observation area, as the waiting room is surrounded on three sides by a walkway that Conners traverses as he recites the stage directions in a somewhat clinical manner. The lighting by Steve Carmichael is also notable here, in giving a bit of a stark air to the proceedings. There’s also excellent sound design by Michael Musgrave Perkins and Philip Boehm, and well-suited costumes by Michele Friedman Siler. The frequent talk of observing ants in a colony is strongly suggested by the staging and structure, as the audience–along with Conners–become the observers, and Mickey and Di Lorenzo are the objects of that observation. 

The story itself is mostly about its characters and larger concepts such as work/life balance, ethics in business, priorities in relationships and “the greater good”, and more. There’s a lot to think about here, and even some open-ended questions. What’s not in question, though, is the quality of the performances. Di Lorenzo is convincingly challenging and enigmatic as Pedro, and Mickey is also strong as the credibly anxious, distracted Sarah. Conners is a strong presence, as well, with his descriptions seeming somewhat intrusive at first, but becoming a more obviously essential part of the story as the play continues.

This is a challenging play, with a lot to think about. I find myself still thinking about what this story means, and especially about the characters, even a while after seeing it. It leaves a strong impression, with its clever staging and especially strong performances. It’s a fascinating new production from Upstream Theater. 

Isaiah Di Lorenzo, Caitlin Mickey, Eric Conners
Photo by ProPhotSTL.com
Upstream Theater

Upstream Theater is presenting Don’t Wait for the Marlboro Man at the Kranzberg Arts Center until April 28, 2024

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Upstream’s “Bitter Fruit” is Mysterious, Compelling

Posted in St Louis Theatre, tagged , , , , , on October 18, 2023| Leave a Comment »

Bitter Fruit
by Héctor Levy-Daniel
Directed by Philip Boehm
Upstream Theater
October 13, 2023

Jane Paradise, Jennifer Theby-Quinn
Photo by ProPhotoSTL.com
Upstream Theater

The latest production from Upstream Theater is a small-cast, one act, emotional drama of intrigue and mystery. Bitter Fruit, by Argentinian playwright Héctor Levy-Daniel, is a well-staged, provocative production that will keep audiences thinking. It’s also a showcase for some excellent local performers.

The story isn’t entirely linear, and it’s not always clear what the relationships are, but a lot of that seems to be intentional. There’s an unfolding mystery here, beginning as the wealthy María (Jennifer Theby-Quinn) comes home to the mansion she shares with her mother Teresa (Michele Burdette Elmore) to find a new housemaid, Luisa (Jane Paradise), who María instantly dislikes and distrusts. Luisa is somewhat evasive about her background and why she came to work there, but María is especially unsettled because the new maid seems to be constantly watching her. María is also involved in a dispute with local factory workers who are protesting their working conditions, and some have died under mysterious circumstances. She meets with a representative of the workers, Pedro (Isaiah Di Lorenzo), who is shown through flashbacks to be no stranger to María, although their relationship is much altered from what it had been. While local authorities investigate the suspicious deaths, María has her own secrets to keep, all while she grows ever more suspicious of Luisa. 

It’s a fascinating play, and the performances are especially strong, with Theby-Quinn convincing in the difficult role of the haughty María, who is a compelling character even if she isn’t especially likable. Paradise also makes a strong impressive as the evasive but determined Luisa, and Di Lorenzo has some excellent scenes with Theby-Quinn that both add to the mysteries of the story and add depth to their situations. There’s also a strong performance from Elmore as the seemingly well-meaning Teresa, who has her own secrets and may know more than she lets on. There are a lot of unanswered questions here, but the drama is intense, the plot unfolds with precisely paced timing, and the cohesive ensemble plays the palpable tension well.

The set by Patrick Huber and lighting by Steve Carmichael, along with Michele Siler’s costumes, add to the overall mood and atmosphere of the production. There’s also an excellent, evocative musical score, performed live on guitar by Lliam Christy, who plays with skill and energy, adding to the emotional vibe of the story.

Overall, this is an intriguing St. Louis premiere production, looking at a time in relatively recent Argentinian history that might not be familiar to American audiences. There’s a useful note in the program from the University of Pennylvania’s Dr. Jennifer Joan Thompson, explaining some of the context. Bitter Fruit is another thought-provoking work of theatre from Upstream. 

Jennifer Theby-Quinn, Michele Burdette Elmore
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting Bitter Fruit at the Marcelle Theatre until October 29, 2023

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Upstream’s Ambitious “Good Ship” Sails with Poignancy and a Few Waves

Posted in St Louis Theatre, tagged , , , , , on November 7, 2022| Leave a Comment »

The Good Ship St. Louis
by Philip Boehm
Original Music by Anthony Barilla
Directed by Philip Boehm
Upstream Theater
November 6, 2022

Upstream Theater’s latest production is a World Premiere original, with intriguing subject matter and a strong cast. Based on true events, this show explores the issue of how refugees are treated in times of political upheaval, showing that the more things change, the more they remain the same. It’s a highly ambitious project, and it’s a compelling story with simple but strong production values and a particularly effective ending, although there are a few bumps along the artistic voyage. 

The story is presented with a modern-day framing device, and a few looks at the refugee experience from various times in modern history, focusing much on St. Louis. The main story follows the passengers and crew of the M.S. St. Louis, a German vessel that was carrying many Jewish passengers to Havana, Cuba, in 1939. The ship sparked much controversy and international headlines, and after several countries (including the United States) refused to receive the ship and its passengers, it was eventually sent back to Europe, finally being allowed to dock in Antwerp, Belgium. The story of the ship is interspersed with the modern-day story of Susan (Kari Ely), who upon the death of both of her parents, finds a trove of boxes, documents, pictures, and various items in her attic relating the story of a married couple–the German-born Herbert (Jeff Cummings) and the Polish-born Rosa (Nancy Bell), who were passengers on the ship. The connection between Susan–whose parents were both raised in Irish-American families–and this couple becomes apparent eventually, leading up to a truly poignant conclusion and ending sequence.

In the meantime, we also get to see the stories of other passengers and crew, including sympathetic Captain Schröder; the captain’s steward Leo Jockl (Eric J. Conners), who harbors a secret; and Nazi group leader and second class steward Schiendick (Christopher Hickey), who is a secret spy; and several of the Jewish passengers including Recha (Sarah Burke), and her ailing professor husband Moritz (Tom Wethington), as well as Charlotte (Kathleen Sitzer), who was raised in a well-to-do family. We also get to hear the stories of a few people affected by different conflicts over the years, including Bosnian refugee Jasmin (Conners), who settles in St. Louis; Leyla (Sitzer), a Syrian refugee who settles in Lebanon; and Ukrainian Latin teacher Lidia (Burke), who finds her knowledge of Latin useful as she travels between various countries. There’s also a series of vignettes featuring three characters with similar names in similar situations, reacting to the news of the day in various times and places–Federico/Freddie/Frederick/Fred (Hickey), and Benito/ Benny/Benedict/Ben (Wethington), who discuss the news of the world and sports; and Maria/Marie/Mary/Marisa (Mariand Jagels Felix), who waits tables (or who could, considering the circumstances). It’s a compelling story with perhaps a few too many plots and characters, although the connection to the refugee experience and attitudes toward refugees over the years is an important idea. The structure can get a little muddled and drag at times, although the main story of the M.S. St. Louis remains compelling despite the occasionally clunky presentation, involving projections and titles describing what’s happening at various moments in the story.

I guess the best way to characterize this play in terms of genre is to call it a “sort of musical”. I say “sort of” in that it doesn’t present itself as a musical initially, so the first time characters start singing, it comes across as somewhat jarring, and the songs aren’t as pervasive as they are in most musicals. I guess you could call it a “play with music”, but the songs do drive the plot when they appear, but they are not as strong an influence as they could be. The music is a mixture of original songs by Anthony Barilla and a few traditional songs and popular songs of the era. It’s well-performed by music director Henry Palkes on piano and cellists Coco Wicks and Ethan Edwards, and the actual singing is good, with varying degrees of vocal quality among the cast, although regardless of vocal power, everyone brings a commendable degree of emotion to their songs. 

The most effective story  line is that of the M. S. St. Louis itself, and especially that of Rosa and Herbert, who are played with strong chemistry and poignancy by Bell and Cummings. Ely also makes the most of her somewhat underwritten role as Susan, although she and Bell probably have the single strongest moment in the show, toward the end. There are also memorable performances from Mayer as the conflicted Captain, and Burke and Conners in a variety of roles each, as well as Hickey and Wethington, also in a variety of roles. Everyone gives their all, and the performances are the highlight of the production.

The show also boasts a strong sense of time and place, well-maintained through the means of Laura Fine Hawkes’s well-realized unit set that suggests the deck of the ship, aided by Barilla’s atmospheric music and sound design, as well as Steve Carmichael’s excellent lighting and Laura Hanson’s detailed costumes. Brian McLelland and Mona Sabau provide memorable projections, as well, even though the use of these projections sometimes lends a “classroom instruction” type of air to the proceedings, as the show occasionally errs in the way of telling rather than showing the plight of its characters. 

Even though I do have some quibbles with the structure and presentation of the story, for the most part I find it poignant, thought-provoking, and effective. Especially considering the strong cast and compelling subject matter, this is a promising new play from Upstream Theater. The Good Ship St. Louis may have a bit of a rough journey at times from a storytelling standpoint, but it’s very much a worthwhile one to see. 

Upstream Theater is presenting The Good Ship St. Louis at the Marcelle Theatre until November 20, 2022

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Upstream’s Compelling “Iphigenia in Splott” Showcases a Remarkable Performance

Posted in St Louis Theatre, tagged , , , , , , , on January 27, 2022| Leave a Comment »

Iphigenia in Splott
by Gary Owen
Directed by Patrick Siler
Upstream Theater
January 21, 2022

Jennifer Theby-Quinn
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater has returned to live performance with a riveting, compelling showcase for a consistently excellent local performer. Iphigenia in Splott is Welsh playwright Gary Owen’s complex exploration of one woman’s life in a traditionally working class area of Cardiff, inspired by the Greek tale of a young woman’s sacrifice by her soldier father in order to bring about a victory in battle. Here, the battles and wars are more metaphorical, but the drama is very real, as is the singularly impressive and emotionally raw performance by its star, Jennifer Theby-Quinn.

Theby-Quinn plays Effie, a hard-partying young woman who initially lives a day-to-day life of numbness and hangovers, which she actively seeks in order to pass the time between club outings and parties. She lives in a small flat and doesn’t have much of a support network beyond an equally hard-partying flatmate and a sort-of-boyfriend who she doesn’t seem to like very much. There’s also her grandmother, who gives her money that Effie grudgingly accepts, but for the most part, hers is a life of emptiness punctuated by raucous excess. Narrating the story as events unfold, Effie is a larger-than-life personality, but is increasingly challenged by her circumstances, and meetings with various people who cause her to think more deeply about her changing situations, as she meets a new guy at a bar who turns out to be more than he first appears. This meeting leads to a series of events that not only change Effie’s life, but also challenge the audience’s perspective–as Effie herself blatantly does at various moments–and parallels the source material in a less-direct and more metaphorical sense, as our “Iphigenia” experiences sacrifice in a series of different ways and the various people and institutions in her life–mostly those of a “higher” social class–use her as a vessel for their own comfort and/or improvement, or else ignore her needs altogether. 

I’m not going into much detail concerning what happens, because the drama of the story, and the power of the performance, depend much upon Effie’s personal experience and discoveries along the way. She is confronted with many difficult truths, but also boldly confronts society–in the form of the audience–along the way. It’s a full-on emotional journey, with every emotion laid bare. In the center of all of this action, and driving it is the absolutely stunning embodiment of the character by Theby-Quinn. She is supported ably by Patrick Siler’s excellent direction, as well as technical contributions from set and costume designer Laila Alvarado, lighting designer Joseph W. Clapper, sound designer Kareem Deanes, technical director Silas Coggeshall, and dialect coach Teresa Doggett. All these elements, from the minimalist set to the realistic costumes and evocative lighting and sound, help with establishing sense of place, all in support of Theby-Quinn’s remarkable work of becoming this character in such a relatable, immensely powerful and credible way. It’s a performance of sensitivity, humor, drama, tragedy, action, and reaction, introducing us to a character who is at once bold, confrontational, sympathetic, and profoundly human. It’s a first-rate performance by a consistently first-rate performer.

Iphigenia in Splott is a powerful return for Upstream. Due to the current COVID situation, the schedule is still somewhat variable, so you’ll need to check with Upstream online to make sure when or how you can see the show. Still, if you’re able to see it, I highly recommend it. It’s a tour-de-force performance of a truly fascinating work of theatre. 

Jennifer Theby-Quinn
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is scheduled to present Iphigenia In Splott at the Marcelle Theatre until February 6, 2022

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