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Labute New Theater Festival 2018
Set Two
St. Louis Actors’ Studio
July 20, 2018

The Labute New Theater Festival is back with Set Two, and it’s a stronger set altogether. St. Louis Actors’ Studio is continuing its festival with another set of plays that feature thought-provoking concepts, strong acting and staging, providing for an all-around impressive production at STLAS’s Gaslight Theatre. In addition to the continued run of the festival’s namesake playwright Labute’s “The Fourth Reich” in which Eric Dean White’s performance is even more insidiously creepy than it was the first time around, the bill includes a strong group of three intriguing plays:

“The Gettier Problem”

by Michael Long

Directed by Wendy Greenwood

Colleen Backer, Erin Brewer, Spencer Sickmann
Photo by Justin Foizey
St. Louis Actors’ Studio

The first of the new plays is an intriguing work that challenges the audience’s perception and raises some interesting questions. The “Gettier” of the title here is Edie Gettier (Colleen Backer), a patient in a hospital psychiatric ward who is awaiting a surgical procedure and is attended by a stern, wary nurse (Erin Brewer) and an assistant (Spencer Sickmann) with whom Gettier seems to be enamored, referrring to him as her “boyfriend” and insisting he stay with her after the nurse leaves. Then, she spins a story that he finds difficult to believe at first and calls to question everything we’ve seen up until this point. It’s an interesting premise, although the short play format makes the ideas raised somewhat difficult to explore. It would be interesting to see what a longer version of this play could look like. The performances are universally strong, especially from Backer who presents an enigmatic character with impressive credibility. Sickmann and Brewer provide strong support, as well.

“The Process”

by Peter McDonough

Directed by Ryan Scott Foizey

Erin Brewer, Carly Rosenbaum
Photo by Justin Foizey
St. Louis Actors’ Studio

This play is a puzzle of sorts–an unfolding mystery that becomes increasingly riveting as the story unfolds, although there is a degree of predictability to it. That doesn’t take away from the poignancy, though, in this tale of an interview that at first appears to be a therapy session of some kind, with a “client” who is soon revealed to be a soon-to-be-married elementary school teacher (Carly Rosenbaum). She’s meeting with someone who initially seems to be a counselor (Erin Brewer) who is helping her “client” recover memories that she seems to have blocked out. What is happening becomes more apparent as the details are gradually revealed, although I did guess the “twist” fairly early in the story. The weight of the drama is still here, though, even if you can guess where this is going. With great, sympthetical and emotional performances from both Rosenbaum and Brewer, this is a stunningly effective play and story.

“Unabridged”

by Sean Abley

Directed by Ryan Scott Foizey

Zak Farmer, Spencer Sickmann
Photo by Justin Foizey
St. Louis Actors’ Studio

This, the last and most inventive production of the evening, is an impressive exercise in world-building, with well-realized characters and an intriguing setting for a short play. It’s something of a venture into fantasy that could easily have been an episode of The Twilight Zone–an imagined “what if” situation in which words have become a valued commodity. Here, in what appears to have once been a library or bookstore in an unspecified but vaguely post-apocolyptic setting, a shopkeeper (Zak Farmer) hosts a frequent customer (Spencer Sickmann) whose passion for new words is almost akin to a drug habit. He’s desperate, intense, jittery, and hanging on every word he can find, both from Farmer and from an unseen competitor who seems to be feeding Sickmann faulty definitions for some inexplicable reason, leading to some humorous moments as well as some poignant ones. It’s a clever script, tackling some intriguing ideas and touching on some timely topics and some challenging philosophical concepts. It’s another play that I wish could be longer, because it would be interesting to see these ideas elaborated further. Farmer, Sickmann, and Eric Dean White (as another of Farmer’s customers) perform their parts well, with Sickmann especially memorable. This is probably my favorite of this year’s festival plays. It’s a highlight of a particularly strong week of plays that is well worth catching while this year’s festival heads into its final weekend.

Set Two of St. Louis Actors’ Studio’s Labute New Theater Festival runs at the Gaslight Theatre until July 29, 2018

 

 

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Labute New Theater Festival 2018, part 1
St. Louis Actors’ Studio
July 6, 2018

St. Louis Actors’ Studio’s annual Labute New Theater Festival is on again at the Gaslight Theatre, showcasing new short plays by a variety of artists, including its namesake playwright. Set One has another weekend to run, with Set Two preparing to open next week. The first batch of plays showcase a variety of characters and situations, from amusing to confusing to downright disturbing. Here are my brief reviews:

“The Fourth Reich”

by Neil Labute

Directed by John Pierson

Eric Dean White
Photo by Patrick Huber
St. Louis Actors’ Studio

As with all of Neil Labute’s previous showcased works at the festival, this play will be featured for the entire run of the event. Also like most of his festival offerings, this one comes across as more of an extended acting exercise than a play. It features an excellent local performer, Eric Dean White, in a memorable performance as an initially polite-enough seeming guy talking to the audience in an interview of sorts. It’s not entirely clear whether this is a formal interview, or some kind of organized event, or if White is just talking to the audience because he wants to. Still, he’s there, sitting in his comfy chair, growing more and more effusive in his praise of Adolf Hitler, acknowledging that Hitler lost World War II but insisting that history hasn’t given him a fair hearing. It’s a weird, defensive sort of monologue, as White’s unnamed character wheedles his way through a succession of repetitive arguments, growing more and more obviously sinister all the while, and even directly challenging the audience to broaden their perspective. It’s an impressive, measured performance by White, who manages to make the character grow more and more obviously sinister through the course of the monologue until the end, which is positively chilling. It’s a strong performance, but as a play I’m not sure what to do with this. A case could be made that this illustrates the sheer insidiousness of people and ideas like this, but still the play’s purpose isn’t entirely clear. The end result is just simply disturbing.

“Shut Up and Dance”

by Barbara Blumenthal-Ehrlich

Directed by Wendy Greenwood

Colleen Backer, Erin Brewer, Carly Rosenbaum
Photo by Patrick Huber
St. Louis Actors’ Studio

The second play of this set is in more of a darkly comic, somewhat fantastical vein, basing its situation at least in part on a real event. Here, a nameless Rockette (Erin Brewer), is haunted by imaginary “Rockette”-like apparitions in her dreams after she decides not to dance at Donald Trump’s inauguration. She flees to a hotel, later calling her mother (Margeau Steinau) and reflecting on the impact of her decision and the concerns about the future of the country. It’s an interesting idea, with good performances by all, especially Brewer and Steinau, although it seems disjointed in terms of format, almost like two plays instead of one, which becomes an even greater issue in the third play of the evening…

“Advantage God”

by Norman Kline

Directed by John Pierson

Eric Dean White, Colleen Backer
Photo by Patrick Huber
St. Louis Actors’ Studio

Talk about disjointed. This is certainly a clever idea, but there’s a little too much going on here and the situation isn’t set up as clearly as it could be. Here, a couple of well-to-do suburbanites (Eric Dean White and Colleen Backer) try to cope with an apocalyptic crisis, as they find themselves in the midst of some nebulous invasion. The two prattle on about their various self-centered concerns while it looks like the world is falling apart around them, but then the Voice of God (Reginald Pierre) starts talking and the whole course of the play changes. The story then shifts to a philosophical and metaphysical debate of sorts before taking a more literal turn that requires a jarring and time-consuming scene change. It has some funny moments, and White, Backer, and Pierre give strong performances, but ultimately the story comes across as disjointed and confusing, although it defintely has some funny moments.

“Hipster Noir”

by Jame McLendon

Directed by John Pierson

Reginald Pierre, Carly Rosenbaum
Photo by Patrick Huber
St. Louis Actors’ Studio

The last play of the first set is the most memorable, and the funniest. A cast of three, in excellent comic form, present an old-style Maltese Falcon-type detective story set in a coffee shop in ever-so-trendy Williamsburg, Brooklyn. Nick (Pierre) narrates the story with a sense of earnest urgency, as he recounts the tale of his meeting with the mysterious Delilah (Carly Rosenbaum), who apparently needs Nick’s help but who also has an agenda of her own. There’s also Atticus (Joshua Parrack), a young hipster with a fondness for typewriters and fountain pens. How he figures into the story isn’t made obvious until later in the play. The comedy here is sharp, with a kind of faux-serious tone that goes well with the Film Noir theme. It’s a fun, clever story with strong performances and a lot of jokes, particularly about hipster culture, relying largely on stereotypes and innuendo. It’s a little obvious at times, but it’s funny.

The production values across the plays are good, with some clever costuming by Megan Harshaw, a simple and versatile set by Patrick Huber, and strong lighting by Huber and Dalton Robison. So far, the festival has presented some interesting ideas, although most of the scripts do need some work, especially in terms of overall cohesiveness and clarity. Still, this festival is an excellent showcase for local actors and directors, presenting some interesting new works. I’m especially curious to see what Set Two is going to to bring.

Set One of St. Louis Actors’ Studio’s 2018 Labute New Theater Festival runs at the Gaslight Theater until July 15, 2018. Set Two opens on July 20 and runs until July 29, 2018. 

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