Posts Tagged ‘william shakespeare’

STLSF’s Streamlined “Tempest” Creates a Fast-Moving, Fascinating World on Stage

Posted in St Louis Theatre, tagged , , , , , on June 1, 2026| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Rick Dildine
St. Louis Shakespeare Festival
May 29, 2026

Zay Williams, Nancy Bell, Sigrid Wise, Eliza Pagelle
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The Tempest at St. Louis Shakespeare Festival is a wild ride, with the audience brought along on a magical, musical journey of wonder, surprise, and emotion. It’s also a welcome return of a familiar theatrical force. Directed by former STLSF Artistic Director Rick Dildine and featuring a first-rate cast and eye-catching visuals, the show creates a memorable world onstage. 

Unlike most (if not all) previous “Shakespeare in the Park” features at the festival, this Tempest runs in one extended act with no intermission. There’s also a fair amount of cutting to the script, trimming it down to focus on the heart of the story, and especially on exiled Duke of Milan Prospero (Nancy Bell), her daughter Miranda (Sigrid Wise) and young Prince Ferdinand (Zay Williams), who is shipwrecked along with his mother, Alonso the King of Naples (Kathryn A. Bentley), Prospero’s usurping brother Antonio (Jeff Cummings), and their entourage. Prospero, who has been stranded on the island with Miranda for twelve years, has caused the storm with magic, and with the help of the sprite Ariel (Eliza Pagelle) and a promise for the latter’s freedom, causes havoc among the shipwrecked newcomers, as well as testing Ferdinand, who is immediately and mutually smitten with Miranda. The story also features a subplot involving foolish royal servants Trinculo (José Sabillón) and Stephano (Michael Doherty), who team up with embittered island denizen Caliban (Chauncy Thomas) to kill Prospero and take over the island. There’s a lot of action going on here, but it’s blended together especially well here, with a wonderful throughline of music provided by music director Michael Grieve as the Boatswain and small band of players providing a traditional/folk influenced soundtrack to the proceedings that adds much to the overall vibe of the show. It’s a comedic focus, mostly, and it works especially well, with measured moments of drama sprinkled in for good measure.

The cast is excellent, led by Bell in a commanding but expertly measured performance as Prospero, whose whimsical tendencies are there, but balanced by a strong sense of care for her daughter as well as a weariness from being stranded on the island. Wise is also excellent as the somewhat naive Miranda, who is eager to learn about the wider world and is credibly attracted to Williams’s charming Ferdinand. The trio of Trinculo, Stephano, and Caliban is ably played with impressive comic timing by Sabillón, Doherty, and the especially pouty Thomas. There are also strong villainous turns by Cummings as the scheming Antonio and Reginald Pierre as his would-be partner-in-crime Sebastian. Bentley makes for a fine Alonso as well, and Whit Reichert turns in an endearing performance as Prospero’s mentor and ally Gonzalo. As the eager sprite Ariel, Pagelle is full of vibrant energy and purposeful mischief. These players are also supported by a strong ensemble, making for a cohesive cast and smooth storytelling. 

The visual world and overall atmosphere of the show is nothing short of wondrous, with a magnificent old-shipwreck set by Christopher Swader and Justin Swader that features many levels on which the cast can work, as well as dazzling lighting by Jeff Behm and well-choreographed sound by Melani Chen Cole that punctuates key moments in the story with palpable energy and emotion. There are also spectacular costumes by Kathleen Geldard in what appears to be an 18th Century style, and excellent props by Katherine Stepanek. Kudos also go to movement director Paul Dennhardt in coordinating the movements with the sound and the overall cohesive physicality of the production.

Overall, this Tempest is a lot of fun. It’s fast-moving, marvelously realized and ideally cast, bringing an overall sense of mystic wonder to the stage in Forest Park. It’s a marvelous piece of theatre, starting off the summer theatre season in St. Louis with energy and style.

José Sabillón, Michael Doherty, Chauncy Thomas
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting The Tempest in Forest Park’s Shakespeare Glen until June 21, 2026

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“Fat Ham” Examines Family Relationships, Comedy and Tragedy in a Southern Shakespearean Tale

Posted in St Louis Theatre, tagged , , , , , , , , on May 25, 2026| Leave a Comment »

Fat Ham
by James Ijames
Directed by Geovonday Jones
The Black Rep
May 22, 2026

Marshall W. Mabry IV, Enoch King
Photo by Howard Ash
The Black Rep

Does Hamlet have to be a tragedy? Is Fat Ham a rehash of Hamlet or a commentary? What do the timeless themes of Shakespeare’s legendary play have to do with life in the modern American South? How much say do people have in how their own lives play out or parallel famous tragedies, even in a “meta” show with copious fourth-wall breaking and examinations of important, recurrent themes in life, death, and family relationships? These are some fascinating questions raised by playwright James Ijames’s Pulitzer Prize-winning play that’s now onstage in St. Louis at the Black Rep, in a dynamic production that brings many thoughts to ponder, as well as a surprising amount of laughter.

The play’s initial description doesn’t adequately prepare audiences for what they are about to see, from my experience. Described as basically a retelling of Hamlet from a modern Southern, Black, queer perspective, the show basically is that, but it’s a lot more, as well. It’s not exactly a retelling, for one thing. It essentially follows a modern North Carolina family whose lives play out in an oddly parallel manner to Shakespeare’s most famous tragedy, but in a way that allows the characters to recognize that fact, examine it, and directly challenge it. The analogues to various characters are here, led by Juicy (Marshall W. Mabry IV), the Hamlet figure, who begins the story hanging out with his cousin Tio (Olajuwon Davis) before his mother Tedra’s (Angela Wildflower) wedding reception after having married Juicy’s uncle Rev (Enoch King) a week after the murder of Juicy’s imprisoned BBQ mogul father Pap (also King). After Tio is freaked out by the ghostly visitation, Pap soon appears to Juicy with the familiar challenge to avenge his death. Soon, family friend Rabby (Margery Handy) arrives with her adult children and Juicy’s childhood friends Larry (Brian McKinley) and Opal (Raevyn Ferguson), who are this show’s counterparts to Polonius, Laertes and Ophelia, although there is some deliberate blurring of those last two identities as the show plays out. As the characters struggle with forced gender roles, parental expectations, long-held attractions, and family resentments, the story begins to take a bit of a Hamlet shape, but refuses to fit neatly into that mold. In fact, the way the characters recognize the plot and soon begin to drive it is the source of much of the character development, humor, and drama of this piece. 

The world of the play is well-realized here, led by a fantastic cast starting with Mabry’s multi-faceted Juicy, who is determined, conflicted, and outspoken all at the same time, and possesses an excellent sense of timing. Davis’s Tio is also a standout in the  “Horatio” role, adding much to the overall humor and heart of the production. There are also fine turns from Wildflower as the outgoing Tedra and King in a fascinating dual role as the flawed and determined Pap and the outgoing but alternately menacing Rev. McKinley and Ferguson are also strong in their roles as two siblings who struggle to live up to their mother’s expectations, and Handy manages the role of the bossy and occasionally surprising Rabby with vibrant energy. The interactions between all these characters make the plot move with driving energy, and there’s never a dull moment.  While the overall tone is largely comic, there are some truly moving dramatic moments as well as moments of tension that also play out with strong credibility.

The look and mood of the piece are well-done, with Patrick Huber’s vibrant set providing an ideal backdrop in a suitably Southern manner. The costumes by Andre Harrington are remarkably well-realized, also, and there are some fun special effects added by lighting designer Huber and sound designer Tre’von Griffith that add an overall spooky/humorous tone to the “ghost” sequences. There’s also impressive work from props designer Mikhail Lynn in helping to keep the overall quirky tone of the show and the characters. 

I had heard a lot of good things about Fat Ham, and had been looking forward to seeing it performed by one of St. Louis’s most celebrated theatre companies. The Black Rep has certainly not disappointed. This is a show that provides a lot to think about and examine about Shakespeare, the modern American South, Black and queer culture, and more, along with timeless themes of relationships, societal and parental expectations. It’s an excellent way to end the Black Rep’s latest season. 

Olajuwon Davis, Marshall W. Mabry IV, Brian McKinley, Raevyn Ferguson
Photo by Howard Ash
The Black Rep

The Black Rep is presenting Fat Ham at Washington University’s Edison Theatre until June 7, 2026

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Immediacy, Emotion Resonate in Updated “R & J” From Chorus of Fools

Posted in St Louis Theatre, tagged , , , , , , on April 18, 2026| Leave a Comment »

Romeo & Juliet
by William Shakespeare
Directed by Eric Satterfield
Chorus of Fools, in Collaboration with KTK Productions
April 11, 2026

Zach Pierson, Tia René Williams
Photo by Tress Kurzym
Chorus of Fools

The challenge with Romeo & Juliet is that, as one of Shakespeare’s best-known and most studied plays, it gets performed a lot, so audiences can get tempted to go in not expecting much of a challenge. It’s up to the director, cast, and creative team to come up with a compelling staging, and Chorus of Fools has done that, for the most part, with their latest production directed by Eric Satterfield, which features an updated setting, creative use of music, and a well-realized visual world. It’s also a good showcase for a fine, well-chosen cast. 

Another challenge of this play is that, while it’s certainly a tragedy, it features a notable tone-shift, coming across at first as more of a comedy until escalating tensions turn tragic midway through, darkening the mood for the rest of the story. The story is well-known, with feuding families, forbidden passion, and misunderstandings leading to the ultimate tragic conclusion. It’s a timeless story of how prejudice and lack of communication can lead to devastating consequences. This production from Chorus of Fools, at the new KTK Productions venue at Most Holy Trinity Catholic Church in Old North, updates the proceedings and emphasizes emotion, with an early/mid-2000’s vibe that works well with the portrayals here.

Romeo (Zach Pierson) and Juliet (Tia René Williams) are especially convincing as a pair of young lovers from rival families, who meet and make an instant emotional connection. Pierson also convinces in his attraction despite his initially somewhat flighty portrayal that is in keeping with the story, as he hangs out with buddies Benvolia (Moira Healy) and Mercutio (Rowan Van Horn) and moons about another love interest, Rosaline (Katherine Garrett), until he finally sets eyes on Juliet. Williams, for her part, is an engaging, suitably naive but eager Juliet, and the scenes between her and Pierson are credibly emotional. There are also excellent turns from Healy as the “peacemaker” friend and especially Van Horn as the impulsive, poetically inclined Mercutio. Nikki Pilato has strong moments as Juliet’s devoted Nurse, as well, as do Celeste Genevieve Gardner as Juliet’s belligerant cousin, Tybalt, Mo Moellering and Elizabth Breed Penny as Juliet’s two mothers of contrasting temperaments, the stern Senator Capulet and the conflicted Lady Capulet. LaWanda Jackson also makes a strong impression as Romeo’s religious mentor, Sister Lawrence, and there’s fine work from the rest of the ensemble as well, with notable fight choreography by Moellering and memorable moments especially in the dance where Romeo and Juliet meet and later in the chillingly climactic scene in the Capulet family vault at the graveyard. 

This show’s vibe is consistent, with excellent costumes by Tara Laurel and masks by Vickie Delmas, impressive use of music and moments of excellent singing. Kudos to music director Lexie Johnson and sound designer Eric Satterfield, along with lighting designer Erik Kuhn and prop designer Vickie Delmas. The set by Tara Laurel serves well to set the mood and works well in various different settings, from the masked party, to Juliet’s balcony and bedroom, to the town square, and to the darkness of the graveyard vault. 

Although there are occasional pacing issues and a few minor difficulties with acoustics and understanding lines here and there, for the most part this is a cohesive, well-told story with consistent characterization and a fully realized world. It’s a Romeo & Juliet that’s both immediate and relatable as well as being profoundly tragic in a timeless way. The updated setting works well for the story, and the message comes across with emotion and clarity. It’s another solid production from a promising newer theatre company.

Zach Pierson, LaWanda Jackson
Photo by Eric Satterfield
Chorus of Fools

Chorus of Fools, in collaboration with KTK Productions, is presenting Romeo & Juliet at Most Holy Trinity Catholic Church until April 19, 2026

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Royal Intrigue Abounds in Chorus of Fools’ Impressively Revised “Elsinore”

Posted in St Louis Theatre, tagged , , , , , , , , on October 10, 2025| Leave a Comment »

Elsinore
by David Nonemaker and Eric Satterfield
Directed by Eric Satterfield
Chorus of Fools
October 9, 2025

Zach Pierson, Andrew Eslamian, Xander Huber
Photo by David Nonemaker
Chorus of Fools

Creating theatre is a fascinating process, and I feel blessed to have been able to witness the development of new plays over the years, including the latest production from Chorus of Fools. Elsinore, by David Nonemaker and Eric Satterfield, first premiered in a production by Prison Performing Arts Alumni Theatre Company in 2021, and I saw and reviewed that production, noting its promise and the work I thought still needed to be done. The new production, with some of the same creative team and one of the same actors, is still recognizable, but has been impressively revised and refined from that earlier iteration, emphasizing the strengths of the story and character and resulting in a more dramatically satisfying and emotionally affecting prequel to William Shakespeare’s most famous tragedy, Hamlet. 

The story is told in three acts, as opposed to two acts in the previous version. Many of the characters from Hamlet are featured, along with some notable new additions, although the familiar characters start out quite differently from what you may expect. In Act 1, it’s 15 years before the events of Shakespeare’s tragedy, and the elder King Hamlet (John Wolbers) is an imperious, somewhat possessive and nervous ruler, trying to rule Denmark with an iron hand, and is dealing with disappointment in his teenage son Hamlet (Andre Eslamian), whom the elder king regards as “soft” and who is mostly interested in getting up to mischief with his buddies Rosencrantz (Xander Huber) and Guildenstern (Zach Pierson). Young Hamlet often feels closer to his uncle, Claudius (Joseph Garner), and flees to his house to avoid his father’s wrath. Claudius is an advisor to the King and is happily married to Collette (Lexie Johnson), who is expecting the couple’s third child after having lost the first two.  As the king grows more jealous of his son’s bond with Claudius and deals with tension in his marriage to Gertrude (Jocelyn Padilla), Claudius comes up with an idea for how to help young Hamlet, which ultimately begins their gradual estrangement. Meanwhile, the king’s bumbling counselor Polonius (Chuck Brinkley) brings his studious daughter Ophelia (Hannah Geisz) to serve in Gertrude’s court after having returned from an unpleasant time in France. Of course, Ophelia and Hamlet develop a friendship that promises to grow into something more. 

That’s just the first act. The next act jumps ahead fourteen years, and we see how the characters and relationships have grown and changed. We also see the seeds of Claudius’s resentment and ambition, and dramatic events that lead to who he becomes in Hamlet. Clever scripting and intriguing character development make for a story that blends sympathy, humor, and tragedy into a credible “before it happened” tale that makes sense as a prequel for one of the world’s best-known plays. Although this backstory isn’t quite how I would have imagined it, the playwrights have done the work to make it make sense, including allusions and parallels to the “parent play” in ways that seem natural and even poetic. The language is also believably Shakespearean, for the most part, and the characters well-developed. As before, I especially love the interactions between Hamlet and Ophelia, but I find Claudius more intriguing this time as well, and the King is a more well-rounded character, and the developments in Claudius’s family life are more thoroughly explained here. 

The cast is excellent, with Garner a thoroughly convincing Claudius, who goes on a journey from sensitive younger brother/uncle and doting husband and father to ambitious wannabe monarch. Garner brings a degree of nuance to the role as well as a clear progression from sympathetic to scheming and beyond. Eslamian as Hamlet is also strong, portraying a believable sense of growth in the character and fantastic chemistry with Geisz, who is a supremely likable and intelligent Ophelia. There are also strong performances from Padilla as the increasingly conflicted Gertrude, Huber and Pierson as the mischievous Rosencrantz and Guildenstern, and Johnson as Claudius’s gentle wife Collette. Pierson also has a strong turn as Young Claudius, son of Hamlet’s uncle, and Brinkley is a scene-stealer as the bumbling but subtly scheming Polonius. Rose Reiker as Osric and Joe Kercher in several roles round out the cast, with all contributing energy and presence to this intriguing, emotionally involving story. I do somewhat wonder at the play’s somewhat smarmy characterization of Laertes (Kercher), since it doesn’t seem fitting with how the character turns out in Hamlet, but that’s a playwriting/directing issue rather than an acting issue.

The look and atmosphere of the show is notably consistent, with a setting that seems like mid-to-late 19th century in terms of costumes and sets. Celeste Gardner’s costumes are particularly outstanding, with excellent attention to detail and period, and suiting the characters well. The set by Vicki Delmas and Satterfield is also excellent, with a prominent red-and-grey color scheme and a suitably “royal” tone. There’s also good work from lighting designer Bradley Rohlf and sound designer Satterfield, and clever use of memorable music during the intermissions that goes along well with the themes of the play.

Overall, while I enjoyed Elsinore the first time I saw it, the play seems like a much more well-realized vision at this point. Featuring familiar characters and themes, and using them in intriguing and occasionally gripping ways, this is a thoroughly credible story that makes sense as a lead-up to Hamlet. It also fits well into the space at Greenfinch Theater & Dive, and includes a few “spooky” elements in keeping with Halloween season. It’s well worth seeing, and an impressive accomplishment from Chorus of Fools. 

Joseph Garner, Jocelyn Padilla
Photo by David Nonemaker
Chorus of Fools

Chorus of Fools is presenting Elsinore at Greenfinch Theater & Dive until October 19, 2025

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St. Louis Shakespeare Bids Farewell on an Upbeat Note with “Twelfth Night”

Posted in St Louis Theatre, tagged , , , , , on October 8, 2025| Leave a Comment »

Twelfth Night
by William Shakespeare
Directed by C. E. Gallagher
St. Louis Shakespeare
October 4, 2025

Twelfth Night was St. Louis Shakespeare’s first show when the company was founded in 1984, and, this past weekend, it also became their last. It’s something of a bittersweet  feeling to see this fairly solid rendition of one of the Bard’s most well-known comedies while also knowing it’s a goodbye to this longtime staple of the St. Louis theatre scene. While it does have its uneven moments, for the most part, the tone was upbeat and the cast is was energetic in a reasonably straightforward rendition of this classic play.

The classic story of mixed up romance, mistaken identity, and mischievous pranks started off a bit slow, but gained in energy as the show carried on, with the strongest moments being the broadly comic ones, especially in the scenes involving Sir Toby Belch (Wil Spaeth), who is a relative of the melancholy Lady Olivia (Danielle Long), and his band of cohorts including Sir Andrew Aguecheek (Anthony Kramer)–a foppish would-be suitor to Olivia)–Olivia’s gentlewoman Maria (Rachel Grossman), servant Fabian (Theorri London), and Feste the fool (Kelli Rao), who scheme to embarrass arrogant, priggish steward Malvolio (Anthony Pounders). These scenes were especially entertaining, with a good deal of energy and physical comedy, and with standout moments from Kramer, Grossman, and Rao especially, with the latter displaying a strong singing voice and ukulele skills. Pounders was also ideally cast as Malvolio despite occasionally struggling with volume.

The main plot, featuring the shipwrecked Viola (Kalani Cing) who disguises herself as a boy and serves the Duke Orsino (Devin Moses)–was also well-done if a bit unevenly cast, since, although Cing is excellent, I saw no real chemistry between Viola and Orsino; and Long, as Olivia, was much stronger in her more comic moments than in the more “serious” opening scenes. John Rogan was fine as Viola’s twin Sebastian, although the idea that these two could be mistaken for one another was harder to believe than usual. There was also a good turn from Imene Tabet as sailor Antonia. 

There aren’t any gimmicks or unusual settings in this production. The fairly basic platform set surrounded by pillars was painted by Sammi Reise in appropriate whimsical colors, but there’s no designer listed in the program. The costumes by Barb Dwyer and Rachel Grossman are a lot of fun and period appropriate, with one memorable additional costume for Malvolio created by Tracey Newcomb. The lighting by Zak Metalksy was adequate, as was the sound by Aiden Byrnes, for the most part, although some of the actors had issues with projection that sometimes made the show more difficult to follow. The overall setting was traditionally Elizabethan, and for the most part, that tone was well-maintained.

It’s sad to see St. Louis Shakespeare closing up shop. I’ve seen some great shows from them over the years, and this last one is a solid if not spectacular send-off. It’s an entertaining Twelfth Night overall, and I wish it had been able to run for more than one weekend.

 

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STLSF Brings Shakespeare to the Zoo with Sweet-Natured, Hilarious “Romeo & Zooliet”

Posted in St Louis Theatre, tagged , , , , , , , , on July 16, 2025| Leave a Comment »

Romeo & Zooliet
by Jennifer Joan Thompson
Directed by Tom Ridgely
St. Louis Shakespeare Festival
July 11, 2025

Ricki Franklin, Jordan Moore
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival has performed its productions throughout the St. Louis area, including its main stage productions in Forest Park, to its Shakespeare in the Streets shows in specific neighborhoods, to its TourCo shows throughout the region. Now, the Festival is celebrating Shakespeare’s work in a new location–the St. Louis Zoo, with a fun new comedy adapted from one of the Bard’s most well-known tragedies. Romeo & Zooliet, written by Jennifer Joan Thompson and directed by Tom Ridgely, is decidedly more upbeat than its inspiration, and its focus on its location and a menagerie of fantastically crafted animal puppets adds much in the way of entertainment value, as do the lively performances by an enthusiastic and talented cast. 

The show makes the most of the Zoo setting with an outdoor amphitheater set up in the middle of the Zoo’s Historic Hill area, featuring Scott C. Neale’s colorful and whimsical set representing a stage labelled “The Glowb” in reference to Shakespeare’s theatre, the Globe, but made by zoo animals who aren’t the best at spelling. The story is essentially a more “family friendly” version of Romeo and Juliet, enacted after hours at the zoo after all the humans have gone home, narrated by Peter the penguin (Ryan Omar Stack, Rae Davis) along with young penguin Penny (Genevieve Mazzoni, Sophia Stogsdill) and cousin Puff (Bryce Cleveland, Rian Page), a puffin. These three watch from the sidelines and reappear to comment at various times throughout the story, which follows the Shakespearean tale in a general sense, but made more upbeat and whimsical. The feuding factions here are Herbivores and Carnivores, with Romeo (Jordan Moore) being a prairie dog looking to find a BFF he can have endless playdates with, after having been rejected by Rosaline, a flamingo. He and his buddy Mercutio the red panda (Jacob Schmidt) end up crashing a “Carnivore Party” held by grizzly bear Lady Capulet (Nisi Sturgis), who is intent on setting up her daughter Juliet (Ricki Franklin) with “apex predator” Paris the alligator (Ryan Omar Stack) as a new Best Friend, but he seems more interested in her as food, and Juliet isn’t so sure she wants to be a carnivore anyway. When she and Romeo meet, of course the sparks fly, and they are determined to be Best Friends Forever. Of course, there are obstacles, and Juliet’s hippopotamus Nurse (Olivia Scicolone) and Friar Lawrence, an owl (Jeff Cummings), try to help while Juliet’s tiger cousin Tybalt (Rae Davis) tries to interfere. 

The story basically follows the original plot, with some clever and often hilarious modifications in keeping with the more comic and family friendly tone. I don’t think it’s a spoiler, for instance, to say that nobody dies in this version, but the alternatives are appropriate and add to the overall story and animal characterizations, and still contribute well to the overall moral of putting aside petty quarrels and loving people for who they are.

The portrayals here are marvelous, as well, with Moore’s Romeo given a sweet, lovably emotional characterization and some winning moments including a show-stopping “Shakespeare’s greatest hits” monologue towards the end of the show. Moore’s interactions with Franklin’s lively and likably fierce Juliet are a highlight as well, as are Sturgis’s domineering Lady Capulet, Scicolone’s devoted Nurse, Cummings’ wise but somewhat bumbling Friar Lawrence, and Schmidt’s excellent dual turn as the mischievous Mercutio and slow-moving tortoise Friar John. Stack is also a treat in three roles as Peter the penguin, the sea lion Prince of Zoorona, and the ravenous Paris–who is more interesting here than his usually bland characterization in the original play. Davis makes the most of the role of the belligerent Tybalt, as well, and the child performers are also excellent. It’s a cohesive ensemble that makes the most of all of their roles, and expertly operate their elaborate, remarkably detailed puppets designed and created with impressive flair by Michael Curry Design.

The other technical aspects of the production are also superb, with memorable costumes by Raquel Adorno, mood-enhancing lighting by Jesse Klug, and strong sound design by Stephen Ptacek. There’s also a fun musical score by Jeffrey “JQ” Qaiyum, energetic choreography by Sam Gaitsch, and exciting fight choreography by Zev Steinrock. The outside setting at the Zoo provided an ideal backdrop for the show, as well, with the sounds of real animals sometimes being heard, and the real prairie dog and sea lion habitats nearby, that spectators pass on their way to the performance area.

Having the show outdoors also presents a challenge, considering the sometimes hard to predict St. Louis summer weather, and there was a small stoppage for rain on opening night, but it was handled well, and the audience was treated to a fun rain delay playlist of songs as they waited for the show to resume. There was also a bit of a technical issue with the sound late in the show, but that was also handled especially well by the cast and crew. 

The whole spirit of Romeo & Zooliet is one of hope, friendship, and reconciliation, with the whimsical, childlike tone of the story doing well to carry the themes and message of the story. The characters are especially memorable, as well. It’s an immensely entertaining blend of animals, nature, humanity, and the magic of theatre.

Ryan Omar Stack, Nisi Sturgis (on stage), with Set and Audience
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting Romeo & Zooliet at the St. Louis Zoo until August 17, 2025

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Melancholy, Moody, and Modern “Hamlet” From STLSF Illuminates Forest Park

Posted in St Louis Theatre, tagged , , , , , on June 10, 2025| Leave a Comment »

Hamlet
by William Shakespeare
Directed by Michael Sexton
St. Louis Shakespeare Festival
May 30, 2025

Michael Khalid Karadsheh, Jennifer Ikeda, Glenn Fitzgerald and Cast
Photo by Phillip Hamer
St. Louis Shakespeare Festival

I love how versatile Shakespeare is. I’ve seen so many wildly different productions of the same plays over the years, and many of them have been marvelous. This latest production of Hamlet by St. Louis Shakespeare Festival, directed by Michael Sexton, is the Festival’s second. While their previous version, staged in 2010, was fantastic, this latest version couldn’t be more different but is also superb, and stunningly staged in the outdoor setting of Forest Park’s Shakespeare Glen. While the earlier version was a more “traditional” staging, this one has a stylish, Mid-Century Modern flair and some inventive staging choices that bring an air of challenging immediacy to the timeless classic play. 

As one of the Bard’s best-known plays, the story is fairly well-known, following the melancholy Danish prince Hamlet (Michael Khalid Karadsheh) as he is challenged by the ghost of his late father, the King (Larry Paulsen) to avenge the King’s murder by his brother, Hamlet’s uncle Claudius (Glenn Fitzgerald), who has also married the King’s widow, Hamlet’s mother Gertrude (Jennifer Ikeda). Supported by his friend Horatio (Reginald Pierre), Hamlet embarks on his revenge plan, while also adopting an air of “madness” that puzzles the court and disturbs those around him, including his sometimes love interest Ophelia (Sarah Chalfie) and her father, Claudius’s loyal and somewhat foolish counselor Polonius (Mark Nelson). With efforts involving a troupe of traveling players, Hamlet’s school friends Rosencrantz (Mitchell Henry-Eagles)  and Guildenstern (CB Brown), and Ophelia’s brother, Polonius’s son Laertes (Grayson DeJesus), the plan inevitably devolves into tragedy, with much reflection, hesitation, impulsive actions, and philosophizing along the way.

This is a well-known, much-studied classic for good reason, as there is much to ponder here for various audiences, generations, and cultures. This version adds an air of style and elegance, with a degree of dissonance provided by a haunting jazz-influence score by music director/composer Brandon Wolcott and memorably performed by onstage musician Brady Lewis. The set by Scott C. Neale is visually stunning and moveable, lending to some clever staging especially in the scene where Hamlet confronts his mother Gertrude in her chamber, where the action is largely shown from the point of view of the spying Polonius. The red and black color palate is also striking, augmented by other colors reflected in Oana Botez’s richly detailed costumes and Denisse Chavez’s evocative lighting. There’s also excellent work by choreographer Sam Gaitsch and fight and intimacy coordinator Zev Steinrock, contributing to the overall dynamic tone of the production.

Casting is key in Hamlet, particularly in the title role, and this production has chosen a Hamlet who leads with youth, energy, and emotion. Karadsheh is an ideal lead for this iteration of the story, bringing a dynamic and reflective presence that is both challenging and relatable. Hamlet drives the action here, and all the other characters are energized in their responses to Karadsheh’s bold interpretation. There are also strong turns from Chalfie as the tragic, conflicted Ophelia, Ikeda as a somewhat detached Gertrude, Fitzgerald as an evasive, scheming Claudius, Nelson as the well-meaning but somewhat buffoonish Polonius, Paulsen in several roles including the Ghost and the Gravedigger, and Pierre as the faithful Horatio. Special note is also due to DeJesus, who turned in a strong, fully-realized performance as Laertes after taking over the role from an injured Vaughn Pole at essentially the last minute. There’s also excellent support from the rest of the ensemble, including Brown, Henry-Eagles, Max Fiorello, Daisy Held, Charlie Mathis, and Ryan Omar Stack. 

The “Shakespeare in the Park” productions from STLSF are usually excellent, and this Hamlet is no exception, with an extra air of Mid-Century style and emotional immediacy. This is my favorite Shakespeare play, and the Festival has done it justice once again. There’s plenty of time to get to the Glen and see it before it fades into the mist of memory. 

Reginald Pierre, Larry Paulsen, Michael Khalid Karadsheh
Photo by Phillip Hamer
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival is presenting Hamlet in Forest Park’s Shakespeare Glen until June 22, 2025

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St. Louis Shakespeare’s Fast-Paced “Julius Caesar” Features Memorable Performances

Posted in St Louis Theatre, tagged , , , , , , on November 1, 2024| Leave a Comment »

Julius Caesar
by William Shakespeare
Adapted by John Wolbers, Edited by Aarya Locker
Directed by Aarya Locker
St. Louis Shakespeare
October 31, 2024

Cast of Julius Caesar
Photo by Gerry Love
St. Louis Shakespeare

Julius Caesar is a well-known historical tragedy from William Shakespeare, but the title is somewhat deceptive. Although the story certainly revolves around the titular Roman ruler, and he is the catalyst for the action, Caesar isn’t really the main character. The main focus is on his close associate Marcus Brutus and several of the other conspirators who  become suspicious of Caesar’s ambition and move to take drastic steps to curtail it. With memorable lines and speeches, as well as an ominous tone, the show works as an excellent acting showcase, and as staged in a fast-paced, somewhat streamlined adaptation by St. Louis Shakespeare, it makes a strong, memorable impression featuring an excellent local cast.

The story starts off as Caesar (Ryan Lawson-Maeske) returns triumphant to Rome from battle, and amid the shouts of praise from the throngs of people awaiting him, he’s met with an ominous warning from a Soothsayer (Aarya Locker) to “beware the Ides of March”, which is coming up very soon. As his ally Mark Anthea (Ricki Franklin) supports him, others fear Caesar’s apparent ambition and lead a conspiracy to kill him. One of the most persistent voices in this movement, Cassius (Sam Hayes) leads the effort to recruit Caesar’s close friend Brutus (Chuck Winning) to their cause, and after much rumination, Brutus agrees. I don’t think it’s a spoiler to mention that the group–including Cassius, Brutus, Casca (Kelli Rao), Decius Brutus (Creighton Markovich), Trebonius (Don McClendon), and Metellus Cimber (Tammy O’Donnell)–succeeds in its plan, but thanks to the famous oratory skills of Anthea, and the military opposition led by Anthea and Octavius Caesar (Mo Moellering), the conspirators’ success isn’t as complete as they had wished. These events are taken from history, with mystical elements including the Soothsayer’s prophecies and various portents and omens emphasized for drama.

This version of the play, adapted by John Wolbers and edited by director Aarya Locker, is fast-paced and focuses on the key events, as well as the relationships between major characters, moving into military action in the latter parts of the play, featuring dynamic fight choreography by Todd Gillenardo. The cast is strong, led by Winning in a thoughtful portrayal of the conflicted Brutus; Hayes as the persistent, belligerent Cassius; Franklin as the loyal Anthea; Lawson-Maeske in a regal turn as Caesar; and a stirring performance from Locker as the Soothsayer. It’s a strong cast all around, with many of the players commendably playing several characters and admirably minimizing any confusion. 

There are memorable dramatic moments as well, and an overall ominous tone that’s well-maintained through excellent use of lighting designed by Kristin Gunther and sound by Charlie Hartley. The costumes by Sam Hayes are bold and colorful, and Charles Winning’s set is appropriately classically styled, featuring pillars and colorful banners, and a stage setup that serves as an excellent base for the quick-moving action of the story.

This is a relatively short production, with a run time of a little over two hours, but the times goes by briskly. It’s a memorable, character-focused Julius Caesar that provides all the historical Roman atmosphere that one might expect, with an emphasis on character and ominous drama. There’s only one performance left to see, so especially for Shakespeare fans and Roman history aficionados, I highly recommend trying to catch it.

Chuck Winning, Sam Hayes
Photo by Gerry Love
St. Louis Shakespeare

St. Louis Shakespeare is presenting Julius Caesar at the Donn Lux Family Performing Arts Theatre at Lift for Life Academy until November 2, 2024

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SATE’s “Tempest in a Teapot” is a Whimsical, Fascinating Emotional and Literary Journey

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 2, 2024| 1 Comment »

Tempest in a Teapot
By Shualee Cook
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 26, 2024

Chrissie Watkins and Cast
Photo by Joey Rumpell
SATE Ensemble Theatre

If you love Shakespeare and the works of Lewis Carroll, then SATE’s latest show is for you! Even if you’re not a huge fan of one or both these writers, however, there’s a lot to learn in this world premiere performance of local playwright Shualee Cook’s Tempest in a Teapot. It does help to be familiar with the source material to some degree, but still this is a fascinating, character-driven look at growing up, self-discovery, and how lives can be affected by others’ opinions and actions in expected and unexpected ways. 

The story here blends history and fantasy, as Alice Liddell (Chrissie Watkins) lives in Victorian-era Oxford and, as she is reaching young adulthood, has to grapple with the expectations of society and her professor father (Adam Flores), who expects her to marry well and settle down, while Alice isn’t sure what she wants to do. Enter Reverend Charles Dodgson, otherwise known as Lewis Carroll (John Wolbers), who visits after a long absence, making Alice have to reckon with her past as the inspiration for Carroll’s Alice in Wonderland books. As Alice is trying to make sense of her life, she is visited by the Cheshire Cat (Kay Ailee Bush), who coaxes her back to Wonderland, where the Mad Hatter (Flores), the March Hare (Keating), and the Dormouse (Summer Baer) await. Since Carroll had recently recommended that Alice read Shakespeare’s The Tempest, the Wonderland residents decide to read the play and act it out, casting Alice as Miranda–although she also ends up playing other roles, as well as featuring in flashback sequences about her own life. Carroll becomes Prospero, with the others playing a variety of roles as Alice is forced to confront her feelings about being Carroll’s “muse”, as well as trying to figure out who she is amid the expectations of the society in which she lives, along with her own family. What ensues is a cleverly constructed mashup of the Wonderland stories, The Tempest, and the intersecting lives of Alice and Lewis Carroll, with a good deal of humor and emotional reflection along the way.

As mixed up as the story may seem, and considering my Alice in Wonderland knowledge comes mostly from film adaptations, I found this story surprisingly easy to follow. It helped to read the Wikipedia pages for Alice Liddell and Lewis Carroll at intermission, but generally, this was a fairly straightforward “coming of age” tale couched in whimsy and fantasy, with vivid characterization and a strong, enthusiastic cast, led by the truly fantastic performances of Watkins and Wolbers, who portrayed a believable relationship and credibly complex characters. The rest of the cast is also strong, with energetic turns from Keating, Baer, and Flores, and an added air of confrontation and mystery from Bush. All of the players work especially well together, emphasizing the concept of “ensemble” as SATE constituently does so expertly.

The look and style of this piece is also memorable, with a versatile set design by Bess Moynihan and Ellie Schwetye that fits well in the Chapel performance space. There are also especially clever costumes by Liz Henning and Kayla Lindsay that add to the overall whimsicality of the proceedings and characterizations. Moynihan’s lighting and Schwetye’s sound design also contribute ably to the overall vibe of the show, as do the  props by Cecile “Cece” Entz and Katherine Leemon.

My only major regret about this production is that the show isn’t still running, because I would be telling everyone with even a mild interest in the subject matter to see this play. Tempest in a Teapot takes a clever concept and gives it life by means of a strong cast and vibrant staging. It’s another fun and thoughtful show from SATE.

Chrissie Watkins, John Wolbers
Photo by Joey Rumpell
SATE Ensemble Theatre

Conclusion–I regret that I wasn’t able to get this review out before the show closed.

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STLSF’s TourCo Entertains Up a Storm with Fast-Paced, Streamlined “Tempest”

Posted in St Louis Theatre, tagged , , , , , , , on August 10, 2024| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Tom Ridgely
St. Louis Shakespeare Festival TourCo
August 9, 2024

Alex Daspit, Daisy Held and Cast
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival’s TourCo is kind of like having a Shakespeare performance in your backyard. This year, with their production of The Tempest, it’s almost literally in my backyard, or close enough, since the location where I saw it was within easy walking distance for me. For others, there are a variety of locations it can be seen throughout the St. Louis Louis area, including various parks and other spaces. No matter where you have to drive–or walk–it’s well worth checking out, because this six-actor production with music, quick costume changes, and magnificent puppets is a wonder to see and hear.

This is a streamlined production that runs 90 minutes with no intermission, along with a fun intro in which the actors introduce themselves and the roles they play, along with giving a short description of the show and some examples of dialogue. Then, the story gets going in fast-paced fashion, as Prospera (Joy Christina Turner) and her daughter Miranda (Daisy Held) have been isolated on an island for years after being deposed by her brother Antonio (Reginald Pierre) and Alonso (Alex Daspit), the King of Naples. There, Prospera has taken up the magic arts and taken the spirit Ariel (Aliyah Jacobs) and Caliban (Isaiah Di Lorenzo) into servitude. Eventually, a ship containing Alonso and Antonio, along with Antonio’s son Ferdinand (also Daspit) is shipwrecked on the island, and father and son are separated, not knowing if the other has made it to shore alive. Ferdinand meets Prospera and Miranda, instantly falling in love with the latter–and the feeling is mutual. Meanwhile, butler Stefano (Pierre) and court jester Trinculo (Held) are stranded on another part of the island and meet with the disgruntled Caliban, who enlists them in a plot against Prospera. Eventually, of course, all the parties are going to meet, but much confusion, hilarity, and reflection ensue in the meantime. 

This is a fun, fast-moving production with some quick costume changes, and wonderful use of puppetry, with dazzling puppets designed by Ryan Marshall and operated by the actors. There’s clever staging to account for the fact that there are only six performers each playing multiple roles, and clever costumes designed by Sam Hayes that work well with the quick changes. There’s also excellent use of music and sound, as performers use various instruments for sound effects and accompaniment, and cast members Jacobs and Turner each get moments to showcase their excellent vocals.

The cast is energetic and cohesive, working well together and managing the quick character changes with style. Turner as Prospera projects a strong air of authority, as well as a range of emotions as the story progresses. Held is also strong as the somewhat innocent Miranda and the comical Trinculo. Daspit does well with the distinction between father and son, switching between Alonso and Ferdinand through the donning and doffing of a crown. Daspit and Held as the young lovers display believable and sweet chemistry, as well. There are also strong turns from Pierre and Di Lorenzo in their dual roles, as well as Jacobs, who is marvelous as the ethereal Ariel. 

TourCo is such a great idea, and this production works well with their format of small-cast, portable shows that can be performed in a variety of spaces. It works  as “entry level” Shakespeare for newbies, or a fun version for seasoned fans of the Bard, as well. With truly stunning puppet work and  excellent cast and technical effects, this Tempest is sure to entertain. 

Joy Christina Turner
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Lous Shakespeare Festival’s TourCo will be presenting The Tempest in various locations throughout the St. Louis area until August 25, 2024

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