Posts Tagged ‘william shakespeare’

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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STLSF Brings Delightful, Melodic “As You Like It” to Forest Park

Posted in St Louis Theatre, tagged , , , , , , , on June 4, 2024| Leave a Comment »

As You Like It
by William Shakespeare
Directed by Nancy Bell
St. Louis Shakespeare Festival
May 31, 2024

Bianca Sanborn, Michelle Hand, Riley Carter Adams, Beth Bombara
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

As You Like It is my favorite Shakespeare comedy, possibly tied with Much Ado About Nothing. I’ve seen many productions over the years, staged in various ways. In terms of what St. Louis Shakespeare does in Forest Park every year, this seems like one of the most ideal for staging among the trees in Shakespeare Glen. This year’s show is simply fantastic, marked by excellent production design, superb music, and a stellar cast and crew including a lot of local talent. 

I can’t overstate how ideal this setting is for this show. The colorful, 19th Century styled set by Scott C. Neale highlights the rustic, forested area in which it is placed, and the costumes by Dottie Marshall English as delightfully whimsical and detailed, also with an early Victorian flair. There’s also wonderfully atmospheric lighting by Denisse Chavez. The music is also handled with true excellence as well, with locally-based singer-songwriter Beth Bombara serving as music director and composer, as well as playing the role of Amiens, who travels with Duchess Senior (Michelle Hand) and her band of wandering ladies. The folky style of the songs works well for the bucolic setting, and Bombara’s guitar and voice, backed by an excellent on-stage band, provides a marvelous soundtrack for the charming, humorous tale. Young Riley Carter Adams, as another of the Duchess’s followers, also has a memorable singing moment.

If you’re familiar with the story, you’ll already have noticed that there’s a bit of gender-bending in this production, and more so than there already was in the script. Duke Senior is now a Duchess, and Touchstone the clown (Ricki Franklin) is also portrayed as a woman, as are most of the Duchesses’s followers, except for the melancholy Jaques (Wali Jamal), whose philosophical musings are still a highlight of the show. The usurping Duke Frederick (Joel Moses) is still here banishing his niece Rosalind (Caroline Amos) from his kingdom, where she disguises herself as a young man, Ganymede, accompanied by her best friend and cousin Celia (Jasmine Cheri Rush), who calls herself Aliena. There, the also-banished Orlando (Christian Thompson)–who had met Rosalind at court and fell in love at first interaction–wanders the forest hanging overwrought love poems on the branches, and Rosalind-as-Ganymede promises to help him forget his love by engaging in a game of witty banter wherein she “pretends” to be Rosalind. Meanwhile, devoted shepherd Silvius (CB Brown) pines after the vain Phoebe (Molly Wennstrom), who is annoyed by the shepherd’s attentions and finds herself attracted to Rosalind-as-Ganymede. Also, Touchstone indulges in a flirtation with the forest-dwelling, goat-keeping Audrey (Bianca Sanborn). These are just the most prominent plots–other threads involve the menacing wrestler Charles (Lenny Mephisto) who is surprisingly bested by Orlando, Orlando’s imperious older brother Oliver (Greg Cuellar), Orlando’s faithful servant Adam (Joneal Joplin) and more. It’s a lively witty, occasionally romantic story that portrays a variety of relationships, as well as musings on life and love, with a few sudden surprises thrown in for good measure.

The cast is superb, led by the eminently likable Amos in a memorable turn as Rosalind, who carries the main plot of the show with confidence and displays excellent chemistry with Thompson’s charming Orlando and Rush’s gutsy Celia. Franklin is also hilarious as Touchstone, memorable in scenes with Rosalind and Celia, as well as with the equally memorable Jamal as the moody, philosophical Jaques, and with the hilarious Sanborn as Audrey. Wennstrom and Brown also make for a humorous duo as Phoebe and Silvius, and professional wrestler Mephisto makes a suitably skilled and menacing Charles. There’s strong support from the entire cast, as well, including a scene-stealing goat! 

As You Like It is a comic triumph for St. Louis Shakespeare Festival. The wonderful cast and creative team, led by director Nancy Bell, fills the Glen with music, humor, romance, and charm. Despite a late start due to weather, the show moved along at a brisk pace and filled the time with magical energy. It’s another great success for this consistently excellent company.

 

Jasmine Cheri Rush, Christian Thompson, Caroline Amos, Wali Jamal
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting As You Like it in Shakespeare Glen in Forest Park until June 23, 2024

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St. Louis Shakespeare Brings Impeccably Staged “Hamlet” Down to Earth

Posted in St Louis Theatre, tagged , , , , , on April 17, 2024| Leave a Comment »

Hamlet
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
April 11, 2024

Hamlet is unquestioningly one of Shakespeare’s most well-known plays. It’s also frequently studied in high school and college (both for me). It’s also known for being particularly philosophical, with many celebrated reflections on life, death, family, theatre, and more. There have been many approaches to staging it over the years–or centuries, in fact, and I’ve seen quite a few productions in my lifetime. This latest version, from St. Louis Shakespeare, takes a direct, down-to-earth approach that brings the characters’ humanity and relatability to the forefront, while still doing justice to it’s more philosophical moments.

Famously, Hamlet is the story of the young prince of Denmark (Dustin Petrillo) who is mourning the death of his father, the former king, and resents the recent marriage of his mother Gertrude (Donna Parrone) to his father’s brother and newly crowned king, Claudius (Colin Nichols). When the Ghost of his father (Don McClendon) appears at the castle walls, Hamlet confronts the spirit and is informed that Claudius is a murderer, having killed the old king in order to get his crown, and apparently his queen as well. Hamlet’s quest for revenge affects his relationships and the lives–and sometimes deaths–of those he cares about most, including friends like bestie Horatio (Creighton Markovitch), would-be love interest Ophelia (Hannah Duncan), Ophelia’s brother Laertes (Bradley M. Dillon), father Polonius (Chuck Brinkley) and more. 

The whole kingdom is affected by the goings-on in this famous tragedy, but this production, directed by Patrick Siler, focuses most on the personal stakes of the characters, even editing the ending to reflect this focus, and portraying the characters and relationships in a direct, immediate way. The relationships are at the forefront here, and the performances are powerful and credible, led by Petrillo in a dynamic and reflective performance as one of the most melancholy of Melancholy Danes I’ve seen, with a fully believable degree of emotional investment. His moments with the also strong Duncan as a guarded but clearly conflicted Ophelia and Markovitch as devoted friend Horatio are especially effective, as is the famous “closet scene” with Parrone’s convincingly concerned Gertrude. Nichols makes for a memorable Claudius, as well, not showing the character’s clear ambitions without overplaying it, and in a similar vein, Brinkley’s portrayal of the somewhat foolish Polonius is firmly rooted in reality and not over-the-top as some versions of this character can be. The humor is there, but so is a degree of sympathy that makes the character even more convincing. McClendon is another standout in a dual role as the Ghost of Hamlet’s father and as the First Gravedigger. It’s a strong ensemble all around, with a strong supporting cast and cohesive chemistry, bringing a directness to the proceedings that strikes me as especially accessible to new audiences as well as those already familiar with the play.

This production fits well into its venue–the smallish theatre at Lift For Life Academy–with an effective minimalist set by Kaylie Carpenter and dynamic lighting by Tony Anselmo that highlights the action, mood, and characters well. The sound and musical accompaniment by David A. N. Jackson is especially well done, with Jackson even interacting with the characters onstage in key moments. The costumes by Michele Friedman Siler are contemporary and stylish, suiting the characters appropriately and adding to the modern flair of this staging.

This is an especially powerful Hamlet, and all the more memorable for its credible performances and in-the-moment, well-paced staging. The only regret I have is that it didn’t run longer. It’s a commendable effort from St. Louis Shakespeare, and a clear reminder of the greatness of this play that it can be adapted so well with such timeless relevance. 

 

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