Posts Tagged ‘william shakespeare’

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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Fast-Paced, Whimsical “Midsummer” is a “Dream” for St. Louis Shakespeare

Posted in St Louis Theatre, tagged , , , , , on October 5, 2023| Leave a Comment »

A Midsummer Night’s Dream
by William Shakespeare
Directed by Christina Rios
St. Louis Shakespeare
September 29, 2023

Cast of A Midsummer Night’s Dream
Photo by Marissa Meadows
St. Louis Shakespeare

The latest production from St. Louis Shakespeare is one of the Bard’s most popular and oft-performed comedies. With a large, lively cast directed by Christina Rios, A Midsummer Night’s Dream features a few intriguing twists, brisk pacing, and enthusiastic performances. It also features a rustic, whimsical tone that emphasizes the forest locale and updated setting.

One of the great things about this play–and Shakespeare in general–is how adaptable it is to different times, contexts, and settings. This production has a more modern, updated setting, while still being about Athenian nobles and artisans, along with woodland fairies. With a vibrant multi-level set design by Morgan Brennan, wonderfully coordinated costumes by Olivia Radle, energetic choreography by Mary Mather, and superb atmospheric lighting by Erin Riley, this well-paced production maintains the organic, back-to-nature vibe with sprinkles of magical wonder, and a marvelously energetic cast and whimsical comic tone. Modern elements like smartphones are worked into the story seamlessly, and the emphasis on physical comedy and ensemble chemistry adds to the charm of this production.

The story is the familiar one, with several different plots woven together, including the wedding of Theseus and Hyppolyta; the convoluted love square involving Hermia, Lysander, Demetrius, and Helena; and the mischievous antics of the sprightly Puck, who gets involved in a dispute between the fairy King Oberon and Queen Titania. Then, there’s the troupe of artisans who are rehearsing a play for the wedding, including the boastful weaver Bottom, who becomes involved in the hijinks between the fairy royals in a hilarious manner. 

The players here are all excellent, and director Rios brings out the best in the talented cast, with energetic staging that adds to the comedy and overall whimsical tone. While having the roles of Titania and Oberon each played by two different performers can be confusing at times, all of the actors are excellent, with Jodi Stockton and Bryce A. Miller as Titania, and Chuck Brinkley and Stephanie Merritt as Oberon, all having their memorable moments. Tiélere Cheatem as the nimble, mischievous Puck is also a standout, along with Ebony Easter and Remi Mark as fellow sprites Peaseblossom and Moth. Also memorable are Mark Kelley as the determined Peter Quince, the director of the play-within-a-play, Riley Stevio as the self-doubting Snug, who plays the lion in that play, and Fox Smith as the highly self-focused, opinionated “Nic Bottom”. There’s also a particular emphasis on the “mixed-up lovers” plot, with strong performances from Rhiannon Creighton as Helena, Jordan Ray Duncan as Demetrius, Molly Stout as Hermia, and Noah Laster with an especially hilarious interpretation of Lysander. There’s a fairly large cast here, with all playing their parts well, and the cohesive ensemble helps to make the fast-paced comedy work for maximum entertainment value.

A Midsummer Night’s Dream is a classic, and frequent theatregoers may have seen several productions over the seasons. What’s excellent about this show is that it makes the most of its setting and story while also managing to make it surprisingly fresh and immediate. With a well-executed creative vision and an enthusiastic cast and creative team, St. Louis Shakespeare has made this production a thoroughly engaging dream of a theatrical experience. 

Jordan Ray Duncan, Rhiannon Creighton, Molly Stout, Noah Laster
Photo by Marissa Meadows
St. Louis Shakespeare

St. Louis Shakespeare is presenting A Midsummer Night’s Dream at the Robert G. Reim Theater until October 7, 2023

This review was orginally published at kdhx.org

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STLSF Brings Informative, Enjoyable “Game’s Afoot” to the Streets

Posted in St Louis Theatre, tagged , , , , , , , on September 19, 2023| Leave a Comment »

The Game’s Afoot
based on William Shakespeare’s Henriad
Written by Benjamin Hochman
Directed by Adam Flores
St. Louis Shakespeare Festival’s Shakespeare in the Streets
September 14, 2023

Jailyn Genese, Keating, Summer Baer, Jack Kalon
Photo by Phillip Hamer
St. Louis Shakespeare Festival

Shakespeare in the Streets has returned, but it was a little different this year. For the latest installment of St. Louis Shakespeare Festival’s annual melding of Shakespeare and St. Louis neighborhoods, the focus is more on a citywide sports tradition than any specific area of the city.  The Game’s Afoot, written by Benjamin Hochman, directed by Adam Flores, and based on Shakespeare’s Henry IV, parts 1 and 2, and Henry V, took a loving and whimsical look at the city’s long love affair with soccer, and how the sport has shaped the city’s culture and facilitated both rivalry and unity among players and fans alike.

The setting for this show was part of its appeal, in addition to the informative story and great cast. The stage was set up on a side street adjoining the parking lot of Schlafly Taproom, with the looming, stylish presence of CityPark clearly visible in the background. Scott Neale’s clever, multilevel set included a representation of a soccer field and provides an appropriate setting for the wide-ranging story that spans several neighborhoods and decades of St. Louis soccer history. There was also a smattering of local humor (including the manner of time travel) that added to the very St. Louis character of the story. Some eye-catching costumes by Shevaré, striking lighting design by M. Bryant Powell, and mood-setting percussion provided by one of the local soccer supporting squads, Fleur De Noise also contributed to the overall atmosphere and lively spirit of the show.

As for the story, it mostly followed Hal (Jack Kalan), a young soccer prodigy coming of age in the 1970s, who initially would rather hang out in bars with his hard-partying friends Falstaff (Keating), Pistol (Jailyn Genyse) and Nym (Victor Mendez) than seriously apply himself to becoming St. Louis’s next “Soccer King”. Instead, cocky upstart and rival Hotspur (Thomas Patrick Riley) challenged Hal for the crown, and the media attention. There story also featured a time-traveling Scout (Lynn Berg) assembling the soccer greats from various eras, and lots of mentions of the various major soccer events over the years, such as the 1950 US team that featured several St. Louis players, and the highlights and stars of various professional and school teams over the past few decades.

It’s a streamlined story both in terms of soccer history and the Shakespearean source material, so the show was probably easier to enjoy for audience members familiar with one or both of these subjects. Still, I had a lot of fun, and the performances were strong across the board, led by Kalan and Riley as the rivaling local soccer heroes, and Keating as the fun-loving Falstaff, along with great turns by Summer Baer as a local supporter who grows from enthusiastic young fan to equally enthusiastic “soccer mom”, Genyse, Mendez, and Tara Bopp in various roles, and Berg as the time-traveling scout. There were also some fun surprises with appearance by some local soccer personalities.

Ultimately, this was a fun celebration of soccer in St. Louis and and enthusiasm for the sport and the city alike, even despite various challenges and hardships over the years. St. Louis Shakespeare is a clever, unique tradition, and this latest entry in the series is more entertaining evidence that St. Louis and Shakespeare go together well. 

Cast of The Game’s Afoot
Photo by Phillip Hamer
St. Louis Shakespeare Festival

This review was originally published at kdhx.org

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Hilarious Remix from SATE is Theatrical, “Palpable” Fun

Posted in St Louis Theatre, tagged , , , , , , , , , on August 23, 2023| Leave a Comment »

This Palpable Gross Play
A Kind-Of Midsummer Night’s Dream
Adapted from Shakespeare by Ellie Schwetye, with Lucy Cashion and Jimmy Bernatowicz
Directed by Lucy Cashion
SATE Ensemble Theatre
August 17, 2023

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

In considering the latest new production from SATE, the old adage “you write what you know” comes to mind, considering both the source material and the adaptation. It’s clear that this is a very “theatre-y” production, by theatre people, about theatre people, and probably best appreciated by theatre people. Still, even if you’re not an actor, director, or other theatre maker, this is a fun deconstruction that showcases its fine cast and is sure to provide much laughter and pondering. 

This show is more whimsical remixing from creatives who are known for this kind of thing, and they do it extremely well. Primary adaptor Ellie Schwetye and director Lucy Cashion (who also contributed to the adaptation) have both been involved with several productions that take established works and either re-examine them or turn them completely on their heads, and usually both. This one does both with an emphasis on the “turning on its head” element. Here, the characters and basic plot is taken from William Shakespeare’s A Midsummer Night’s Dream, but it’s not a straightforward telling of that story. Here, the story focuses mostly on Puck (Ross Rubright) and the “Mechanicals” (Kristen Strom, Andre Eslamian, Kayla Ailee Bush, Joshua Mayfield, and Anthony Kramer Moser)–the group of artisans and amateur actors who put on a play for a royal wedding. In this show, though, the play isn’t about Pyramus and Thisbe, but about the mixed-up lovers from the source play–Hermia, Lysander, Demetrius, and Helena.  Puck is involved here as “Robin Starveling”, growing more and more frustrated with the various attempts at “acting” from the group–from the overzealous and opinionated Bottom (Eslamian), to the unenthusiastic Flute (Bush), to the self-doubting newcomer Snug (Kramer Moser), to overwhelmed director Peter Quince (Strom). Puck has ideas about what to do about this problem, though, that somehow involve a sleeping drug commercial from a few years ago. Meanwhile, Puck also has his fun with an ongoing feud between fairy Queen Titania (Victoria Thomas) and King Oberon (Spencer Lawton), with the anticipated  result being switched up in clever and hilarious manner. 

My description of the show seems woefully inadequate, since I would spoil too much if I went into too much detail. Let me just say that a lot goes on here, from “actor-y” in-jokes to clever staging, and hilarious “behind-the-scenes” moments, as the play rehearsal happens on one plane on the stage, with the Titania/Oberon/Puck hijinks happening mostly in the background. The cast is marvelous, as well, led by Rubright in a self-assured performance as the charming and somewhat smug Puck. Everyone is excellent though, so it’s difficult to single anyone else out. The ensemble chemistry is brilliant, and the staging is precise and well-timed. It looks great, too, with a fantastic set by Schwetye and Cashion, delightful costumes by Liz Henning and props by Rachel Tibbetts, and strikingly atmospheric lighting design by Erik Kuhn. There’s also a memorable music score and sound design by Joe Taylor. 

This is SATE, so I was expecting clever, unique, and unusual, and that’s what This Palpable Gross Play provides, with a lot of enthusiasm and personality. It’s one of those shows that might benefit even more from repeated viewings, considering how much is going on in one place. It’s another fun, thoughtful show from this excellent local company. 

 

Cast of This Palpable Gross Play
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting This Palpable Gross Play at The Chapel until September 2, 2023

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Quick Changes and 90s Vibes Abound in STLSF’s Fun “Merry Wives”

Posted in St Louis Theatre, tagged , , , , , , , , on August 15, 2023| Leave a Comment »

Merry Wives
by William Shakespeare
Directed by Suki Peters
St. Louis Shakespeare Festival’s TourCo
August 8, 2023

Michelle Hand, Rae Davis, Carl Overly Jr., Mitchell Henry-Eagles, Christina Yancy
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

Imagine if The Merry Wives of Windsor was a 1990’s sitcom. That’s the premise of Merry Wives, St. Louis Shakespeare Festival’s TourCo show that’s running (for free) in various parks and other locations in the St. Louis area throughout the month of August. With a small, energetic and versatile cast, and some fun production elements, this is an entertaining Shakespearean update, even if it is a bit on the long side.

As is true for a lot of Shakespeare’s comedies, Merry Wives involves a lot of trickery and mixed-up romances. It also involves a popular character from some of the Bard’s history plays that he brought back, Sir John Falstaff, played here by Carl Overly, Jr. The swaggering, party-loving Falstaff has made the mistake here of trying to woo two women at once–Mrs. Page (Michelle Hand) and Mrs. Ford (Christina Yancy)–who are too clever for his own good. Upon discovering that Falstaff has sent the same letter to both of them, the two women set out to play a trick on the knight that involves a lot of hilarious hijinks. Meanwhile, the jealous Mr. Ford (Joel Moses) sets out to expose his wife’s supposed treachery by disguising himself and asking Falstaff for “help”, and the Pages’ daughter Anne (Rae Davis) deals with a trio of varying suitors all played by Mitchell Henry-Eagles, with expected mix-ups and hilarity ensuing in that plot, as well. 

The sitcom structure works well here, with a fun soundtrack provided for the transition scenes, and a host of 90’s pop-culture references thrown in for good measure. The cast is excellent, with great enthusiasm and comic timing, and a whimsical production design by Laura Skroska with clever costumes by Kayla Lindsey. The approximately 90-minute runtime is a bit long for a sitcom, and it might have benefited from a little bit of trimming. Still, the whole cast and crew manage to keep up the spirit of the show throughout. Overly, as the only cast member who doesn’t play multiple roles, is an energetic Falstaff, and the rest of the players are commendable in their sheer versatility. 

I love the TourCo shows because they are so accessible. It’s not just free Shakespeare, like the headline shows in Forest Park each year. These are shows that go to various different venues throughout the region. I saw Merry Wives in Tower Grove Park, and if you look at STLSF’s website, you will find the schedule and locations for the rest of the run. It’s more than worth checking out. Even with its slightly long runtime for a show of this format, it’s a lively, fun production that’s easy to enjoy, especially for fans of 1990’s sitcoms and pop culture. 

 

Rae Davis, Mitchell Henry-Eagles, Joel Moses
Photo by Phillip Hamer Photgraphy
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival’s TourCo is presenting Merry Wives in various locations until August 29. 2023

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A Vibrant, Melodic “Twelfth Night” from St. Louis Shakespeare Festival

Posted in St Louis Theatre, tagged , , , , , on June 7, 2023| Leave a Comment »

Twelfth Night
by William Shakespeare
Directed by Lisa Portes
St. Louis Shakespeare Festival
June 2, 2023

Clave Sol (band) led by Philip Gomez, Esteban Andres Cruz, Cassidy Flynn, Alisha Espinoza, Ricki Franklin
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

I’ve said it before, and I’ll say it again–I love how versatile Shakespeare’s plays are in terms of staging. Their being in the public domain gives directors much freedom in terms of how to present the plays, and while I’ve seen many great stagings that are more on the “traditional” side, I love modern dress presentations and re-imaginings, because I think that these versions can do a lot to help modern audiences relate to Shakespeare’s stories and characters, as well as bringing the meaning of his dialogue to life in a fresh, contemporary way. St. Louis Shakespeare Festivals latest production of the comedy Twelfth Night in Forest Park is an excellent example of how this more modern approach can work so remarkably well. 

The whole vibe of this piece is fantastic. The traditional setting has given way to a modern Miami-inspired look and feel, with lots of excellent Latin music arranged by music director and sound designer David R. Molina and played by the terrific onstage band, Clave Sol, led by Phil Gomez. Also featured are the excellent vocals of Esteban Andres Cruz, who plays Feste, the “fool” who is more of a minstrel, really. The story is the familiar one, of a shipwreck that separates twins Viola (Gabriela Saker) and Sebastian (Avi Roque) and the mixed-up romances involving Duke Orsino (Felipe Carrasco) and Olivia (Jasmine Cheri Rush); along with more hijinks in the form of the plotting by Olivia’s hard-partying cousin Toby, called Dame Toby here (Ricki Franklin), along another would-be suitor of Olivia’s, Sir Andrew Aguecheek (Cassidy Flynn), and Olivia’s assistant Maria (Alisha Espinosa), who play a trick on Olivia’s stuffy security man Malvolio (Ryan Garbayo). The comedy is fast-paced and fun, and the setting, based in the largely Cuban-American culture of Miami, works especially well here.

The look, style, and tone of the production is excellent, from Regina García’s stylish set to the vibrant, eye-catching costumes by Danielle Nieves, to John Wylie’s striking lighting design. The pacing is quick and energetic, and the excellent music provides an ideal mood to the proceedings. 

The performances are top-notch, led by the engaging Saker as an appropriately bewildered but strong-willed Viola. Her scenes with the equally strong Rush as the haughty Olivia and Carrasco as the determined Orsino are highlights. There are also delightful comic performances from Franklin and Flynn as the scheming pair of partying pals, Dame Toby and Andrew Aguecheek, along with memorable support from Espinosa as Maria, and a marvelous turn by Garbayo as the hilariously duped Malvolio. There’s a strong cast all around, providing a strong sense of ensemble chemistry that adds to the overall comic mood and contemporary air of the production. 

This Twelfth Night is vibrant, energetic, at turns bawdy and slapstick-ish, and just a pure delight from start to finish. It’s an excellent example of how Shakespeare can be adapted to different settings and cultures, all the while still highlighting the themes and characters of the story. And it’s free. This “Shakespeare in the Park” entry from STLSF is a great way to start off the summer theatrical season. 

Jasmin Cheri Rush, Gabriela Saker
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival is presenting Twelfth Night in Forest Park’s Shakespeare Glen until June 25, 2023

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The Black Rep Stages Fascinating, Illuminating “African Company Presents Richard III”

Posted in St Louis Theatre, tagged , , , , , , , on September 10, 2022| Leave a Comment »

The African Company Presents Richard III
by Carlyle Brown
Directed by Ron Himes
The Black Rep
September 9, 2022

Alex Jay, Coda Boyce, Olajuwon Davis, Cameron Jamarr Davis, Wali Jamal Abdullah
Photo by Phillip Hamer
The Black Rep

The Black Rep has opened their new season with an intriguing period drama based on true events. The African Company Presents Richard III is going to be a history lesson for a lot of viewers, since while its subject is important, it’s not as widely known as it probably should be. At the Black Rep, the production continues the company’s usual tradition of excellence, in acting, staging, and production values. 

As mentioned, this is something of an educational play, in the sense that it tells about a particular set of events that actually happened and people who really existed, although I imagine there has been a degree of dramatic license, like all dramatizations of historical people and events.  The focus here is on a Black-operated theatre company in 1820s New York City, called the African Company and founded by William Henry Brown (Olajuwon Davis), who goes by “Billy” to his friends. Billy and his company have been staging a production of Shakespeare’s Richard III at their small venue, but they have been drawing relatively large crowds and receiving notices in the newspaper. The show, geared for Black audiences, has been drawing more white patrons lately, as well, and this attention has raised the ire of Steven Price (Eric Dean White), who manages the nearby Park Theatre, which is about to host its own production of Richard III starring noted white English actor Junius Brutus Booth. Price is concerned that the African Company will be drawing attention away from his production, and is determined to shut them down, with the help of the local police constable listed in the program as “The Contable-Man” (Dustin Petrillo). Meanwhile, the African Company is dealing with some internal drama of their own, as leading actor James Hewlett (Cameron Jamarr Davis), known as “Jimmy”, tries to keep the increasingly dissatisfied Ann “Annie” Johnson (Coda Boyce)–who plays Lady Anne–from leaving the show. Also in the company are seamstress/actress Sarah (Alex Jay), who works as a maid for a wealthy white woman who becomes a somewhat surprising unseen ally; and the drum-playing, storytelling Papa Shakespeare (Wali Jamal Abdullah), who acts in the play as well as adding his rhythmic soundtrack to the proceedings. 

This is a fascinating show that shines a light on a particular moment in history during a time when Black people–even in Northern cities like New York–are treated with suspicion and hostility even without institutionalized slavery. There are still expectations, and lines they are not supposed to cross, and the African Company and their members risked a lot–their lives, their jobs, and more–in challenging these boundaries. We also get to see moments of their Richard III rehearsals and performance, which provides a look into the making of theatre in the 19th Century. It’s got humor, drama, suspense, and a real sense of the historic, as well as shining a light on the sheer pervasiveness of systemic oppression.

There’s a great cast here, with excellent performances all around, from Olajuwon Davis’s ambitious, earnest Billy to Cameron Jamarr Davis’s charismatic, determined Jimmy; to Boyce’s conflicted Annie, who has great scenes with Jimmy and with the also excellent Jay as Sarah. Abdullah is full of engaging presence in a scene-stealing performance as Papa Shakespeare, and his drumming skills are impressive. There are also memorable villainous turns from White as the scheming Price and Petrillo as the somewhat sycophantic Contable-Man. There’s vibrant ensemble chemistry, especially among the members of the African Company, and the action is well-paced and compelling. 

Technically, the production has ably transported the stage at the Edison Theatre into 1820s New York, with an authentically detailed set by Jamie Bullins and excellent costumes by Andre Harrington. There’s also superb work from lighting designer Jasmine Williams, sound designer Kareem Deans, and props designer Emily Kennebeck. Nobody alive now will have been able to attend an actual 19th Century theatrical performance, but as staged here, we’re given as close an approximation as could be expected. 

Overall, this is a thoroughly well-staged and riveting production. It’s thoughtful, challenging, and historical but with important, timeless themes. If you’re familiar with the Shakespearean source and/or the historical background, or if you are not, this is a play that’s not to be missed. It’s a profound and remarkable theatrical experience.

Wali Jamal Abdullah
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting The African Company Presents Richard III at Washington University’s Edison Theatre until September 25, 2022

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STLSF’s “Much Ado” in Forest Park is Really Something

Posted in St Louis Theatre, tagged , , , , , on June 11, 2022| Leave a Comment »

Much Ado About Nothing
by William Shakespeare
Directed by Bruce Longworth
St. Louis Shakespeare Festival
June 3, 2022

Cast of Much Ado About Nothing
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

Much Ado About Nothing seems to be one of Shakespeare’s most popular comedies these days. I think that’s because it’s probably one of the least intimidating for general audiences who aren’t as familiar with the Bard’s work, or who may have only studied his plays in school. The plot is fairly straightforward, and many of the situations are easily relatable for modern audiences. It’s also especially conducive to various setting updates. St. Louis Shakespeare Festival, with its latest production, reiterates just how immediate and engaging this play can be, with a strong cast, sharp comic timing, and superb production values. 

The main story, as pointed out by Producing Artistic Director Tom Ridgely in his program note, is relatable because it’s timeless. The dynamic between the quick-witted Beatrice (Claire Karpen), and the equally sharp-tongued soldier Benedick (Stanton Nash) is one that’s been featured in stories–and especially in romantic comedies–for generations. As is usual for productions of this show, it’s the central relationship that shines through most clearly, as showcased through the strong chemistry, presence, and comic timing of Karpen and Nash, who make an ideal pair here. The subplots are done well, also, with the all-too easily persuaded Claudio (Kenneth Hamilton) wooing the sweet-natured Hero (Carmen Cecilia Retzer) but easily falling prey to the machinations of the scheming, gravelly-voiced Don John (Sorab Wadia), who seems to want to cause trouble just for the sake of it. There are also strong performances from Chauncy Thomas as the soldiers’ leader Don Pedro, who comes up with the idea to playfully trick Beatrice and Benedick into falling in love. There’s also a goofy comic subplot involving bumbling local constable Dogberry (Liam Craig) and his assistant Verges (Whit Reichert), who have some hilarious moments with their watchmen, who despite Dogberry’s comic ineptitude, manage to catch Don John’s henchman Borachio (Aaron Orion Baker) and Conrade (Alex Rudd) in revealing an act of deception that causes a a lot of havoc between Claudio and Hero. There’s an excellent cast all around here, with standout moments from Gary Glasgow and Carl Overly, Jr. in dual roles, as well as Christopher Hickey as Hero’s father Leonato, Tim Kidwell as Leonato’s brother Antonio,  and Jenna Steinberg and Maison Kelly as Hero’s waiting gentlewomen Margaret and Ursula.  

According to the program notes, this version of the story is given a setting toward the end of the first quarter of the 20th Century, just after the First World War. That time period is the inspiration for the eye-catching production design here, including props like an authentic-looking Victrola-style phonograph, and the colorful and striking costumes by Dorothy Englis. Josh Smith’s multi-level set is also richly detailed and an ideal setting for the action, and the overall whimsical, witty, and musical tone of this production. And speaking of music, there’s a wonderful soundtrack here, with music to Shakespeare’s songs composed and played by Matt Pace and Brien Seyle, and beautifully sung by Michael Thanh Tran as Bathasar. The atmosphere and mood are also helped along nicely through means of John Wylie’s excellent lighting design, sound design by Rusty Wandall, sound effects by Kareem Deanes. It’s a great looking and sounding show that fits especially well into the outdoor setting in Forest Park’s Shakespeare Glen.

This is a fast-paced production with moments of slapstick comedy, witty banter, underhanded scheming, and an overall uplifting tone even though there are some darker moments sprinkled in amidst the comedy. The tone, the style, the energy, and especially the first-rate cast make this show a true delight, worthy of the excellent reputation of the St. Louis Shakespeare Festival, and the Bard himself. 

Claire Karpen, Stanton Nash
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting Much Ado About Nothing in Forest Park until June 26th, 2022

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St. Louis Shakespeare’s Streamlined “Romeo and Juliet” is Approachable, Well-Cast

Posted in St Louis Theatre, tagged , , , , , on February 15, 2022| 1 Comment »

Romeo and Juliet
by William Shakespeare
Directed by Blake Anthony Edwards
St. Louis Shakespeare
February 11, 2022

Evie Bennett
Photo: St. Louis Shakespeare

Romeo and Juliet is one of those shows that most Americans seem to know from having studied it in school. There have also been several filmed versions over the years, as well as the multitude of staged productions over the past few centuries. It seems to be seen as “entry level Shakespeare” for a lot of people. In that vein, St. Louis Shakespeare’s latest production strikes me as an ideal first Shakespearean show for novices, in that it fully conveys the weight and message of the piece while also presenting it in an especially accessible and approachable manner, featuring a streamlined script, fast-paced direction, and a strong and relatively age-appropriate cast, albeit with a few notable casting “twists”. 

Staged at Kirkwood’s Reim Auditorium, the relatively large stage makes an effective backdrop for the production, which is played out on Cris Edwards’s simple but efficient wooden unit set. The costumes, by Amanda Handle and Tracy Newcomb, are mostly modern, with Romeo (Erik Peterson) dressed in simple jeans and button-down shirt over a t-shirt, and others in similarly contemporary clothes, but others, such as Tybalt (Jade Collins), and Benvolio (Emma McDonough) are dressed in outfits with a mix of modern and Elizabethan flair, and Friar Laurence (Nick Freed) is garbed as an old-fashioned robed priest. The simple set and simply styled costumes lend to the overall straightforward air of the production, and the cast has been simplified as well, with a few twists, as both Tybalt and Benvolio are played as women, and Romeo’s parents have been blended into one, Lady Montague (Rhianna Anesa). Some minor characters have ben left out, as well, with the important ones remaining–led, of course by Romeo and his star-crossed love Juliet (Evie Bennett). The story, of forbidden love among feuding families, is made immediate and fresh here, and the plot concise and briskly paced while allowing for the poignant moments to resonate. There’s lot of action–and some impressive fight choreography by Dennis Saldana–as well occasional humor, and eventually the building sense of tragic leading up to the play’s well-known conclusion.

The cast is impressive, for the most part, led by the suitably youthful Peterson and Bennett as the rash young lovers, with Peterson alternately earnestly determined and Bennett the more sheltered but occasionally playful and brash Juliet. Also standing out is Quinn Spivey in a dynamic turn as Romeo’s ill-fated friend, Mercutio, who commands the stage even though there are a few moments that might be a little too intense. McDonough as Benvolio, Freed as the Friar, and Collins as Tybalt are also excellent, as is Matthew Kauzlarich in a small but memorable role as Capulet servant Peter. Hillary Gokenbach and Robert Stevenson are believable as Juliet’s parents, with Gokenbach conveying some sympathy and Stevenson showing some frightening moments of anger as he orders the reluctant Juliet to marry kinsman Paris (Nic Tayborn). There’s also an especially memorable, alternately witty and poignant turn from Donna M. Parrone as the Nurse, Juliet’s caretaker and confidante. The cast works together well, from the romantic moments between Peterson and Bennett, to the clear friendship bonds between Peterson, Spivey, and McDonough, to the obvious affection between Bennett and Parrone as Juliet and the Nurse.  The ensemble energy adds much to the believability and power of this much-told story.

Aside from a few minor sound issues, the technical production flows well, supporting the cast in this simple but effective staging of a time-honored Shakespearean classic. It’s not the most elaborate or “theme-heavy” of productions, but those attributes work in this production’s favor. If you’ve never seen Romeo and Juliet before, or if you’ve seen it many times, this production brings the story to the stage in an immediate and memorable way.

St. Louis Shakespeare is presenting Romeo and Juliet at the Reim Auditorium in Kirkwood until February 20, 2022

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