By Lynn Venhaus Nearly 10 years after Pixar Animation Studios raised the bar again with a mind-bending and rib-tickling “Inside Out,” which became an instant classic, a clever sequel thrusts our now 13-year-old heroine Riley into red-alert puberty.
While not as innovative as the original, “Inside Out 2” offers a relatable take on very raw and very real adolescent emotions. An all-star cast, including some returning voices, delivers the same tempo and tone that made the first so endearing.
Both films emphasize that life’s ups and downs are teachable moments, and that’s an admirable focus as the filmmakers try to be faithful to the projects’ goals.
Perhaps no year in our lives is as anxious and awkward as being 13 is. Oh, those raging hormones and their unpredictable effect. I mean, who would ever want to repeat it? We remember, and this universal theme is a rich one.
The sequel connects as an amusing look back for parents and perhaps either as a cautionary tale for what’s ahead with their pre-teen offspring or a reminder of what their grown children were like back then.
Because Riley is dealing with those quicksilver ever-changing emotions, Anxiety, Embarrassment, Envy and Ennui are an imaginative addition. The boredom expressed by Ennui is the funniest running gag.
That fuels a turbo-charged narrative mixing with the already prominent voices in her head — the color-coded network of Joy, Fear, Anger, Sadness and Disgust. That results in a hyper-kinetic energy that feels very busy.
Although the animated comedy-drama-fantasy’s zippy excursion into a teen trying to navigate fitting in while also wanting to stand out does humorously hit all the identifiable pitfalls.
An avid hockey player, Riley (Kensington Tallman) hopes to make the team in high school and enthusiastically attends an exclusive-invite summer camp under the discerning eye of Coach Roberts (Yvette Nicole Brown).
Her dedication and work ethic are admirable, but she struggles to keep her old classmates Grace and Bree (Grace Lu and Sumayyah Nuriddin-Green) close while trying to be pals with the star player Val Ortiz (Lillimar), part of the cool kids’ squad.
It appears that she has a lot to learn, as do the emotions guiding her thoughts and movements. With the original five trying to hold on to control in a command center undergoing changes, the mind games escalate.
Amy Poehler’s perky Joy is in a mad rush to obtain order while Maya Hawke’s jittery fast-talking Anxiety fights to take over. She has brought along three inspired characters — Envy (Ayo Edibiri), Embarrassment (Paul Walter Hauser) and Ennui (Adele Exarchopoulos) to ramp up the pressure. And they are hilarious.
This fab five includes memorable turns from two regulars — Lewis Black as tightly wound Anger and Phyllis Smith as mopey Sadness. Also returning are Riley’s well-meaning parents, voiced by Kyle MacLachlan and Diane Lane.
Without skipping a beat, Tony Hale replaced Bill Hader as the fidgety Fear and Liza Lapira took over from Mindy Kaling as sassy Disgust. Another notable addition is June Squibb as Nostalgia.
The first one benefitted from co-writer and co-director Pete Docter using his personal experience of moving his family from Minnesota to San Francisco. The issues that came with a new home and new school resonated.
A master visual storyteller, Docter is only executive producer on this. However, co-screenwriter Meg LeFauve, who was part of the 2016 Oscar-nominated writing team, has returned. Dave Holstein is a new writer, and Kelsey Mann is the first-time director.
Mann’s previous three Disney films – “The Good Dinosaur,” “Lightyear” and “Onward” were among my most disappointing efforts of the past 10 years. I didn’t think the concepts worked. However, the points about children inevitably growing up comes together here with its can’t-miss interesting characters..
This sequel concentrates on an uncharted period of development in Riley’s maturation, while maintaining a clear focus on her life’s bigger picture – her belief system and that she is a good person. Her strongest attributes are kindness, compassion and level-headedness..
Midway, this journey gets bogged down with an overly complex hunt — yet the introduction of sarcasm is ingenious. as are characters in a vault. Stealing the show is Ron Funches as “Bloofy,” a popular children’s TV cartoon character, and his accessory, Pouchy, voiced by James Austin Johnson of “Saturday Night Live” fame.
Besides an impressive use of state-of-the-art technology for a visually stunning bright palette, the best feature is the cast’s sharp comedic skills, which are showcased as they nimbly deliver quick-witted dialogue.
Although heartfelt, the sequel isn’t the misty-eyed tug on emotions that the original was. Still, its sincerity goes a long way in making this film work.
“Inside Out 2” is a 2024 animated family comedy-drama-fantasy directed by Kelsey Mann and stars Amy Poehler, Maya Hawke, Lewis Black, Tony Hale, Phyllis Smith, Ayo Edebiri, Grace Lu, June Squibb, Sumayyah Nuriddin-Green, Yvette Nicole Brown, Kyle MacLachlan, Diane Lane and Kensington Tallman. It is rated PG for thematic elements and run time is 1 hour, 36 minutes. It opened in theaters June 14. Lynn’s Grade: B.
The Repertory Theatre of St. Louis (The Rep) is holding a first of its kind Prop Sale June 26 – 28, 2024 at the Lemp Brewery Warehouse (3500 Lemp Ave, St. Louis, MO 63118).
For over 50 years The Rep has procured its collection of theatrical props, and with over 16,000 square feet of prop storage stuffed to the rafters, it is time for items to find new loving homes so the theater can make room for new and exciting acquisitions.
The Rep’s Prop Sale is perfect for antique aficionados, theater history fans, and those looking for the next conversation piece for their home. Everything from pink flamingos to carousel horses, jukeboxes, Singer sewing machines, HUNDREDS of chairs, a 5-piece cheetah luggage set, even a prop Tommy Gun in a violin case and so much more are available at can’t beat it prices.
Own a part of theatre history and find the one thing you never knew you always wanted!
Located at the Lemp Brewery Warehouse spaces (3500 Lemp Ave, St. Louis, MO 63118), the Prop Sale is open to the public the following dates and times:
Wednesday, June 26, 12 – 7pm Thursday, June 27, 12 – 7pm Friday, June 28, 8am – 3pm Saturday, June 29, 8am – 3pm
All sales are final and sold in “as is” condition. Payment by cash or credit card preferred. All sales are cash and carry, items will not be held for pickup without full payment and must be removed from the warehouse the day of purchase.
For further questions, please contact The Repertory Theatre of St. Louis Props Department at props@repstl.org.
New Renderings Show Additions tothe St. Louis Wheel Park
New amusement rides are set to open at St. Louis Union Station on Memorial Day weekend 2025. The expansion at the family entertainment destination is part of owner Lodging Hospitality Management’s (LHM) ongoing commitment to enhancing the entertainment offerings at the historic attraction. .
NEW RIDES, GAMES & CONCESSIONS
Guests can look forward to an exhilarating array of new rides, including:
Mini Spinning Coaster: A thrilling coaster, themed as a train, celebrates the rich railway heritage of St. Louis Union Station. This ride promises to deliver twists, turns, and fun for the whole family. The coaster reaches a height of 22 feet and has 16 seats.
Pirate Ship: A classic amusement ride that will take guests on a swashbuckling adventure, swinging high above the park and offering spectacular views. The Pirate Ship ride will stand at 48 feet 6 inches high and has 42 seats.
Wave Swinger: An exciting swing ride themed to pay homage to the 1904 St. Louis World’s Fair, this ride will elevate guests to new heights with a thrilling and breezy experience perfect for all ages. The Wave Swinger will be 43 feet 6 inches high and seats 64.
Midway Games
Complementing these new attractions, a selection of classic carnival games will be introduced, enhancing the nostalgic, family-friendly atmosphere of the Wheel Park. Guests can test their skills and win prizes in a variety of games.
Concessions
To complete the experience, new concession booths will offer a range of fan-favorite snacks and treats. From classic carnival fare to sweet indulgences, there will be something to satisfy every craving as visitors explore the expanded entertainment area..
PROJECT TIMELINE AND LOCATION
Construction for this project will begin in January 2025, with anticipated completion by Memorial Day weekend 2025, just in time for the summer season. The new attractions will be situated adjacent to the iconic St. Louis Wheel on the south end of Union Station, within the vibrant Wheel Park area, which already boasts popular attractions such as the Carousel and Mini Golf course. St. Louis-based PGAV Destinations is providing Wheel Park architectural design.
ABOUT ST. LOUIS UNION STATION
The new rides at St. Louis Union Station will join the St. Louis Aquarium, 200-foot-tall St. Louis Wheel, the St. Louis Ropes Course, the St. Louis Carousel, the 18-hole St. Louis Mini-Golf course, Selfie Express and the A-Maze-Ing Mirror Maze as St. Louis Union Station’s attractions. The historic landmark also offers the St. Louis Union Station Hotel, a Curio Collection by Hilton. Restaurants at Union Station include the soccer-themed The Pitch Athletic Club & Tavern, Train Shed, Soda Fountain, 1894 Cafe and The Station Grille. Opened in 1894, St. Louis Union Station was the biggest and busiest train terminal in the nation. Union Station, a National Historic Landmark, celebrates its 130th anniversary in fall 2024. More information on Union Station is available at www.stlouisunionstation.com or on social media @unionstationstl.
ABOUT LODGING HOSPITALITY MANAGEMENT
Union Station’s owner, Lodging Hospitality Management (LHM), is dedicated to providing exceptional hospitality experiences. With a diverse portfolio of hotels, meeting and event venues, real estate, visitor attractions and restaurants, and a commitment to innovation, LHM continues to enhance the appeal of St. Louis for visitors and residents.
Need a vacation? Escape to Forest Park’s Shakespeare Glen for an idyllic summer treat, for “As You Like It” is a robust, refreshing tonic that celebrates the restorative powers of art, love, and nature.
An absolutely perfect vehicle for the St. Louis Shakespeare Festival’s annual offering, this 1623 romantic comedy is fun and frisky.
It’s been 20 years since it was last performed on the mainstage, and one of the playwright’s most accessible.
Sprinkling her magic fairy dust, director Nancy Bell demonstrates why she is a master interpreter of the Bard. A creative genius, she stamps every project with esprit and has a firm grasp of iambic pentameter.
In much the same way she has engaged audiences by transforming classics into easy-to-understand mashups in past local Shakespeare in the Streets projects, she maintains a breezy and playful atmosphere.
The festival’s former playwright-in-residence, she wrote the vigorous “Remember Me” performed outdoors in Maplewood, “Blow Winds!” downtown, “Good in Everything” in Clayton, “The New World” in Benton Park West, and the St. Louis Theater Circle Award winners for Best New Play “The World Begun” in Old North St. Louis and “Old Hearts Fresh” in The Grove.
Christian Thompson, Wali Jamal.. Photo by Phillip Hamer.
To further illustrate a point about embracing change in “As You Like It,” Bell’s adaptation is a liberating antidote to a stuffy and strait-laced patriarchal Gilded Age.
A scintillating ensemble conveys a more laid-back, accepting merry band of brethren – well, emphasis on a sisterhood – once action shifts to the Forest of Arden.
The contrasts couldn’t be sharper when imperious Duke Frederick – ever-reliable Joel Moses in high-handed wickedness, banishes his sister Duchess Senior, a feisty Michelle Hand, from the royal court. Oh pshaw!
Defiantly, the Duchess flees to the Forest of Arden, where she discovers exile can be rejuvenating. It’s another memorable performance from the inspired Hand.
Also thriving in this pastoral setting is the Duchess’ daughter Rosalind, a clever girl who disguises herself as a man, Ganymede. After all, this is Shakespeare, so of course the plot includes mistaken identities.
Caroline Amos is poetry in motion as Rosalind, sprinting across the stage with boundless energy. She is matched by the delightful Jasmine Cheri Rush as her loyal cousin-best friend Celia, the Duke’s daughter. Rush has returned for a second year, after playing Olivia in last summer’s “Twelfth Night.”
Bianca Sanborn, Michelle Hand, Riley Carter Adams, Beth Bombara. Photo by Phillip Hamer.
Rosalind falls in love with affable landowner Orlando, also displaced, and Christian Thompson is a charmer as her heroic object of affection, if a bit dim because he doesn’t suspect anything unusual.
In fairness, he’s pre-occupied trying to stay one step ahead of his scheming brother Oliver (Greg Cuellar), who is not very nice – as in trying to get his sibling killed.
Their lives become topsy-turvy, with thankfully Orlando having a change of heart, and the sweet Celia zeroes in on him.
Further wackiness ensues with the introduction of effervescent Ricki Franklin as bawdy Touchstone, a clownish character. Franklin’s a bright addition for the second year in a row, a scene-stealer last summer as Dame Toby Belch in “Twelfth Night,” a gender-bending turn that earned her a St. Louis Theater Circle Award,
Delivering one of Shakespeare’s most famous soliloquys, “All the world’s a stage…,” the mellifluous Wali Jamal earned applause immediately after reciting the passage so eloquently. He plays Jaques, a solitary and gloomy man who leans towards the melodramatic.
The multi-generational cast includes familiar and fresh faces, notably local treasure Joneal Joplin, who was in the festival’s first Forest Park show, “Romeo and Juliet,’ in 2001. He returns for his seventh one as Adam, a devoted servant of Sir Rowland de Boys, who is Oliver and Orlando’s father.
Jasmine Cheri Rush, Caroline Amos. Photo by Phillip Hamer.
Making her festival ensemble debut is winsome young teen Riley Carter Adams, a seasoned performer on local stages with television credits. She is listed as “young lady.”
Romance is on the mind of several characters. Kathryn A. Bentley is a likable shepherd Corin, a sage advisor to Silvius, who is not listening. CB Brown is endearing as the lad in need of guidance, for he’s in pursuit of Phoebe, who only has eyes for Rosalind (Ganymede).
Molly Wennstrom is spirited as the unpleasant but lovestruck shepherdess, whose course is altered by Touchstone’s interesting moves. Phoebe’s due for a rude awakening.
Two of the goofiest characters are Isaiah Henry as William, a simple, unsophisticated country boy crushing on goatherder Audrey, humorously played by Bianca Sanborn.
In a crowd-pleasing turn, St. Louis professional wrestler Lenny Mephisto, aka Maniacal Mephisto, is pitted against Orlando as Charles, a wrestler in the duke’s court.
The wrestling match is well-staged, thanks to savvy fight and intimacy choreographer Rachel Flesher, and Cuellar, who also is fight captain.
Lenny Mephisto, Christian Thompson wrestle. Photo by Phillip Hamer.
Captivating music is an integral part of this vibrant tableau, with an original score performed live on stage by local musician Beth Bombara in the role of faithful friend Amiens. Joining her are Sam Golden on viola and mandolin and percussionist Jeremy Reidy.
Scenic Designer Scott C. Neale, whose work has always astonished on the outdoor stage in Shakespeare Glen, has created a striking bucolic setting that is reminiscent of an old-timey illustrated picture book. Its reveal earned a hearty round of applause.
Among his six previous designs, you may recall his stunning set for “Antony and Cleopatra” in 2015 and “Henry IV and V” the year before.
As is customary, the technical work is superb, with distinct work by lighting designer Denisse Chavez and costume designer Dottie Marshall Englis. Sam Gaitsch choreographed buoyant moves, and props manager Taylor Laine Abs kept the accessories simple.
The unpredictability of working with live farm animals is evident with a goat and a sheep from D Bar S Ranch, which amused the crowd May 31. Apparently, from new accounts, they are adjusting to life in the spotlight.
Bianca Sanborn, Ricki Franklin. Photo by Phillip Hamer.
With its exuberant and energetic cast having a swell time on stage, that translates into one of the most enjoyable Shakespeare Festival’s mainstage efforts to date.
Due to their high standards, the festival has grown into the largest free outdoor Shakespeare play between the coasts. It’s a well-deserved achievement, and this supremely entertaining effort is not to be missed.
The festival is one of the best things about living in the St. Louis metropolitan region, and we are so very fortunate to be able to smile on a summer night under the stars in Forest Park.
St. Louis Shakespeare Festival presents “As You Like It” from May 29 to June 23, Tuesday through Sunday, at 8 p.m., free in Forest Park (Shakespeare Glen). https://stlshakes.org/production/as-you-like-it/
Shakespeare in the Park is free to attend, no reservations or tickets required for any of the performances. But every night a small number of reserved chairs and blanket spots are available for purchase – directly supporting the Festival’s mission and year round programming. Find your favorite spot: in the blanket-only section, box seats for up to six guests or general single-chair reservations.
CB Brown, Molly Wennstrom, Caroline Amos, Jasmine Cheri Rush. Photo by Phillip Hamer.The company. Photo by Phillip Hamer.
Tickets on Sale for Best Performance Awards June 30; Last Day June 9 for Guaranteed Group Seating
Brea D. Johnson and Maddie Hewgley are this year’s recipients of $1,000 scholarships each from Arts For Life, to be presented at the 24th Annual Best Performance Awards on June 30.
Johnson, a recent graduate of Fort Zumwalt South High School, lives in St. Peters, Mo., and plans to attend Southeast Missouri State University, where she will major in musical theater.
Hewgley attends Elon University as a musical theater major and is a 2022 graduate of Parkway Central High School.
Both Johnson and Hewgley have extensive performing arts credits in local youth productions and with other theater companies.
Maddie Hewgley
Students who plan to pursue a career in the arts are eligible for an annual Arts For Life scholarship.
Every year since 2012, the AFL board of directors has selected two college-age recipients through an application process. Requirements include pursuing a career in the arts, essays, and letter(s) of recommendation.
Those entering college after high school graduation or continuing their college education in an arts undergraduate program must submit a completed application and cannot have been the primary recipient of a previous AFL scholarship.
AFL is a non-for-profit arts and service organization dedicated to supporting and celebrating community and youth theatre in the St. Louis metropolitan and metro-east Illinois region.
Local performer Donna Weinsting, who has been a popular figure on stage, in films and comedy clubs throughout St. Louis for 60 years, is this year’s Lifetime Achievement Award recipient from Arts For Life.
The BPAs recognize excellence in community theater organizations in the St. Louis metropolitan region, including Southwest Illinois.
Tickets are currently on sale for the event set for Sunday, June 30 at the Keating Performing Arts Center at Kirkwood High School, 801 W Essex Ave, Kirkwood, MO 63122
Brea Johnson
If attendees want guaranteed seating with a particular theater group, they must order tickets online by the end of day, June 9. Please let us know which theatre group or individual you would like to sit with in the “notes to seller” section at checkout. After that, tickets will be reserved in general seating.
BPA tickets are $30 and are available online with a service fee of $2 added: https://arts-for-life-2.square.site/.
Zion Thomas will be the event’s master of ceremonies. A local performer, he is pursuing a career in film/TV and is a recent graduate of Case Western Reserve University.
Paul Pagano will serve as director. A native of St. Louis, he is the executive director and a co-founder of Gateway Center for the Performing Arts.
The ceremony will include performances from the top musicals nominated in the three Best Musical Production categories.
Act Two Theatre’s “The Drowsy Chaperone” and Monroe Actors Stage Company’s “How to Succeed in Business Without Really Trying” lead all musical productions with 17 nominations apiece.
Gateway Center for the Performing Arts has the most nominations with 31- for “Bare: A Pop Opera” (7) and youth productions “9 to 5: The Musical” (14) and “School of Rock” (10).
All BPA ticket orders will be held at the box office. Please contact us at afltrg@artsforlife.org if you have any special seating needs. Handicapped seating is available.
Nominations are listed on the website, www.artsforlife.org.
“These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, AFL president.
Participating groups included Act Two Theatre, Alpha Players of Florissant, Christ Memorial Productions, Crusader Players, Curtain’s Up Theatre, Dayspring Arts and Education, Gateway Center for the Performing Arts, Goshen Theatre Project, Hawthorne Players, KTK Productions, Looking Glass Playhouse, Monroe Actors’ Stage Company, O’Fallon Theatre Works, Spotlight Productions and Take Two Productions.
Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”
AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
The children of the night are making some lusty music in the musical “Dracula,” a different take on the gothic horror classic whose folklore has become a pop culture staple.
Lush voices soar in a foreboding dark shadow setting, with New Line Theatre putting their own stamp on a stripped down, impressionistic version of Frank Wildhorn’s much-maligned 2004 Broadway musical that has since been heavily revised and became a hit overseas.
Of the many variations of Bram Stoker’s 1897 horror fantasy novel, this very dramatic musical version combines alluring romance with an unsettling thriller narrative devoid of any humor or camp, which has been easy to slide into with vampires over the years. (Case in point: “What We Do in the Shadows.”)
However, Chris Strawhun amuses as one of the characters, a straight-talking Texan named Quincey Morris while delivering his good ol’ boy dialogue.
This tight-knit group, of both familiar and fresh faces, is committed to getting the tone and tempo right. They strive to convince in their portrayals as either under Dracula’s hypnotic spell, resisting it, or desperate vampire hunters.
Brittany Kohl, Vanessa Simpson. Photo by Jill Ritter Lindberg
Their vocal prowess is its strongest suit because this show’s intention is to have more of an emotional core, not aiming to scare or even conjure suspense, in this supernatural world.
Supporting players circle the bewildering nobleman, Count Dracula, an imposing yet enigmatic figure confidently played by Cole Gutmann.
He has summoned solicitor Jonathan Harker (Ian McCreary) to assist in the purchase of a home in England.
Despite being told not to wander around the castle in the Carpathian Mountains, Harker does just that, encountering the Weird Sisters, a trio of nubile undead, who entice him to do bad things. McCreary presents the character as a stand-up guy, but weak.
Ann Heir Brown, Chelsie Johnston and Sarah Lueken bewitch as the seductive trio, slithering around the minimalist stage. With sinful looks and slinky attire, the characters add a provocative edge. They are choreographed by co-director Tony L. Marr Jr.
They initially set the eerie mood with the opening number, “Prologue,” then join McCreary in “Jonathan’s Arrival.” All three have melodic voices, evident on “Forever Young” and joining Guttmann on “Fresh Blood.”
Well, that situation doesn’t go well for Harker, and he winds up in a hospital. His smart and lovely fiancé Mina Murray (Brittany Kohl) changes her holiday plans with best friend Lucy Westenra (Vanessa Simpson) and leaves Whitby Bay, a seaside town in England.
Kent Coffel, Ian McCreary, Kohl, J.D. Pounds. Photo by Jill Ritter Lindberg
A sense of dread surfaces in Mina and Lucy’s duet, “The Mist,” and their nightmares begin.
The women, confined to the society standard of being an adornment on the arms of successful men, keep ignoring red flags but this mysterious aristocrat has captured their fancy. Kohl and Simpson are believable as women who may want more out of life.
The fetching Lucy, wooed by three men, chooses the dullest guy to marry, Arthur Holmwood, earnestly portrayed by Alex Vito Fuegner. Another suitor is Jack Seward, a doctor specializing in psychoanalysis, who is played with authority by J.D. Pounds.
Their number, “How Do You Choose?” sets up their relationships. Despite Lucy marrying Holmwood, the guys are friends and factor into the group trying to protect everyone from sinister forces.
Seward is the gateway to his patient, the insane assistant Renfield (Rafael DaCosta), who is mind-controlled by the count.
DaCosta and the Weird Sisters collaborate on “The Master’s Song,” indicating their servitude.
DaCosta adds some verve to the proceedings, as does Kent Coffel as Professor Abraham Van Helsing, the obsessed vampire slayer. Sporting a Dutch accent and explaining how to snare a vampire, Coffel grounds the show as the iconic presence.
Rafael DaCosta as Renfield. Photo by Jill Ritter Lindberg
Coffel, an MVP in supporting roles, has more contributions musically — two solo numbers, “Nosferatu” and “Summers Come, Summers Go,” and performs “Undead One” and ‘Deep into the Darkest Night” with the suitors. Van Helsing also duets with Dracula in “It’s Over.”
This production focuses on the seriousness of the times, and the traditional roles in Victorian society. Stoker’s aggressively sexual characters were a novel idea in that era, for polite society followed rigid rules of decorum.
Flirting with forbidden eroticism has always been an appealing aspect of the mythology – and if you’ve seen Francis Ford Coppola’s “Dracula” movie in 1992, the ‘True Blood’ series on HBO, and even the ‘Twilight’ franchise, you don’t have to be Fellini to figure out the temptation metaphors.
Director Scott Miller and co-directory Marr keep it tasteful, implying the blood lust without fangs or special effects, or icky graphic stuff.
Both Mina’s and Lucy’s seductions are simply staged, and the deaths through various implements are downplayed. (Although blocking prevented me from seeing Lucy’s beheading).
This cast must build the desire and the fear into their characterizations because, unfortunately, the book by Don Black and Christopher Hampton is like a Cliff Notes version of the source material. It’s neither fascinating nor passionate, and the actors have to do the heavy lifting on their own.
Coffel, Cole Guttmann. Photo by Jill Ritter Lindberg
It’s important to be aware of the basic Dracula scenario, for this script has little world-building, assuming you’re well-versed in it.
The setting toggles back and forth between a castle in Transylvania, England, a ship, Budapest, and a mental asylum, which can be difficult to follow if you’re not plugged into the most famous vampire figure in history.
Black’s lyrics have more exposition than the book. Gutmann’s soulful voice stirringly delivers Wildhorn’s grandiose ballads, injecting a more tortured, troubled persona rather than a monstrous villain into the numbers.
And he does so admirably, from his first number “Solitary Man” to “At Last” and finale. His anguish and his power are explored in “A Perfect Life/Loving You Keeps Me Alive” with Kohl and McCreary, one of the standout numbers.
Lucy is doomed, and Simpson is impressive as the poor unfortunate soul. She and Gutmann display a palpable chemistry, and that may be chalked up to being partners in real life.
Their number, “Life After Life,” joined by the company, sets up the inevitable trajectory, and their harmonies are solid.
Kohl, Guttmann. Photo by Jill Ritter Lindberg.
When Dracula falls in love with Mina, that allows for some outstanding vocal work by Kohl and Guttmann. Kohl is capable of pathos, as exemplified in “Please Don’t Make Me Love You” and “If I Had Wings.”
I wouldn’t say sensuality is evident, but as accomplished singers, they know how to deliver poignancy.
The designers have expertly crafted a creepy atmosphere, with Matt Stuckel’s lighting design and Ryan Day’s sound design establishing an off-balance feel.
Costume designer Zach Thompson has fashioned appropriate 19th century styles and sultry outfits for the Weird Sisters, with nifty little details to make the looks interesting..
Lippert’s skills have highlighted functionality for the scenic design, making the most with a few signature pieces – a centerpiece crypt doubles as a bed and a table and there is a striking stained glass window.
Music Director Jenna Lee Moore, who helmed “Nine” last year, has a terrific group of six musicians and plays keyboard. Paul Rueschhoff is on cello, John Gerdes on brass/bass, Mary Wiley on reeds, Mallory Golden on violin, Buddy Shumaker on guitar and second keyboard, and Clancy Newell on percussion.
Wildhorn is a hit-and-miss with me. When New Line spiffed up his “Bonnie and Clyde” in 2014, it was one of my favorites that year, showcasing top-notch performances and telling a compelling story.
He is the composer of both pop songs (“Where Do Broken Hearts Go” for Whitney Houston) and musicals, including his most famous, “Jekyll & Hyde” that ran for four years on Broadway. In 1999, he made history by having three shows run simultaneously – besides Jekyll & Hyde, “The Scarlet Pimpernel” and “The Civil War” were also on Broadway.
This musical version of “Dracula” isn’t as fascinating as one expects, given our knowledge of the story, and a reference base from more than 30 films based on the world’s most famous vampire. But this is a sturdy cast whose efforts are noteworthy.
You may not leave humming a tune or consider any of the songs as memorable as Wildhorn’s “This Is the Moment,” from “Jekyll and Hyde,” but you won’t forget the music New Line’s team made.
Photo by Jill Ritter Lindberg.
New Line Theatre” presents “Dracula” May 30 – June 22, Thursdays, Fridays and Saturdays at 8 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, in the Grand Center Arts District. For more information, visit: https://www.newlinetheatre.com.
To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.
With its Dream Team of actresses eliciting all the feels, a sterling “Steel Magnolias” is a warm and wry reminder about the connective tissue that binds us – whether it’s family, friends or community ties.
In only the second play produced by Stages St. Louis, following the runaway success of last year’s “Clue” (winner of five St Louis Theater Circle Awards out of 11 nominations), the company has kicked off its 38th season with an enduring classic.
Robert Harling’s beloved comedy-drama honored his late sister, Susan-Harling Robinson, who died of complications from Type 1 diabetes in 1985. Taking place over three years, the play celebrates the special bond of a group of women in a small Southern town.
First presented off-Broadway in March 1987, the play opened on Broadway that June, and ran for 1,126 performances until it closed in 1990. The original 1989 smash hit film starred an all-aces ensemble including Sally Field, Shirley MacLaine, Olympia Dukakis, Dolly Parton, Darryl Hannah and Julia Roberts in her first Oscar-nominated role.
Those are some heavy shoes to fill, but with this irresistible group, it’s a pleasure to watch them interact like they’re an Olympic sports team at play. Their fervor for this work is obvious, and they each bring something fresh to their roles.
Photo by Phillip Hamer
In her Stages St. Louis debut, intuitive Amy Loui anchors the cast as doting but worry-wart mother M’Lynn as they get ready for daughter Shelby’s wedding. Taylor Quick is also making her Stages debut as the vivacious Shelby, sparkling with personality.
The women gather at Truvy’s Beauty Spot, an in-home salon. Spunky Jilanne Marie Klaus scampers around as the busy business owner, dispensing homespun wisdom with a side of sass zhuzhing their hair.
Playing off each other like one would expect the grand dames of St. Louis theater to achieve with their snappy banter and impeccable timing, Kari Ely is the elegant and affluent widow Clairee who loves to gossip and Zoe Vonder Haar is the crotchety and very wealthy Ouiser who loves to annoy.
Sparks fly as the two trade barbs and speak their minds. Ely is marking 30 seasons with this company and Vonder Haar has been in 75 shows there.
Ouiser is such a crowd favorite that the audience erupted into applause when Zoe made her blustery entrance. She brought the house down uttering the famous line: “I’m not crazy, I’ve just been in a bad mood for 40 years.”
The character with the most growth is Annelle, hired as Truvy’s assistant. As played by Abigail Isom, she’s timid, but a people-pleaser, with enough problems to fill the lyrics of a country song. After dipping back into the dating pool, she becomes a Bible-thumper, which perplexes some of the ladies.
Photo by Phillip Hamer
Harling grew up in Natchitoches but set the play in the fictional northwest Louisiana parish of Chinquapin. He’s filled the conversations with colloquial references, mentioning the local football games, festivals, beauty pageants, and special occasions that give a place its color.
Those distinctive cadences make the show appealing, smoothly delivered and tugging at our emotions.
While the women cope with life’s rhythms, Shelby’s health deteriorates after a risky pregnancy doctors warned her about, and that stubborn streak puts her at odds with her concerned mother.
In real life, Harling’s sister gave birth to his namesake nephew and when a kidney transplant failed, it led to her body wearing out.
Director Paige Price’s care in honoring these delightful women is notable. She smartly moves the show along in a well-appointed space, with an outstanding scenic design from Kate Rance. They’ve both captured an authentic glimpse of Southern living in the ‘80s.
Taylor Quick as Shelby. Photo by Phillip Hamer.
Shelby’s signature color pink is highlighted in not only her fetching wardrobe but inside the inviting beauty shop too.
Costume designer Brad Musgrove has created an attractive array of looks befitting the characters’ ages and economic status. He selected a pleasing color palette to make the characters come alive.
A big component to the characters’ looks is the wig and hair designs by Daniel Paller, and he managed to create remarkably realistic hairstyles for each character.
Dialect coach Pam Reckamp’s work is especially noteworthy, considering all six’s Southern drawls are maintained without dropping throughout the two acts.
Lighting designer Sean M. Savoie’s customary excellence is on display, after 10 years of memorable work at Stages. The crisp sound design by two-time Tony winner Nevin Steinberg includes a mix of Shelby’s favorite songs playing on the radio. The local DJ is voiced with authority by unseen Kurt Deutsch.
Jilanne Marie Klaus as Truvy and Amy Loui as M’Lynn. Photo by Phillip Hamer.
There isn’t a false note conveying his family’s personal tragedy as Harling adroitly combined heartache with humor. The one-liners zing and the tears are earned.
Because of its believability, “Steel Magnolias” holds a special place in people’s hearts. Anyone undergoing grief and loss can relate. And the women’s strength is to be admired, even when they’re tossing off quips.
Sentimental without being sappy and sincere without being maudlin, “Steel Magnolias” demonstrates the enriching aspect of female friendships. And we’re the lucky ones to be reminded how very special the people in our orbit can be.
This production is a chef’s kiss. And don’t forget your tissues.
Stages St. Louis presents “Steel Magnolias” May 31 through June 30 at the Kirkwood Performing Arts Center in Kirkwood. For more information, visit www.stagesstlouis.org.
The Muny has announced its full cast, design and production teams for Les Misérables, which opens the theatre’s 106th season and runs June 17-23 on the James S. McDonnell Stage in Forest Park.
“We are ready to storm the barricade of Muny 106 with this beautiful musical,” said Muny Artistic Director & Executive Producer Mike Isaacson. “The cast, crew and artistic team are striving to create a production you’ll remember for a lifetime.”
Joining the previously announcedJohn Riddle (Jean Valjean), Jordan Donica (Javert), Teal Wicks (Fantine), Red Concepción (Thénardier), Jade Jones (Madame Thénardier), Ken Page (The Bishop of Digne), Emily Bautista (Éponine), Gracie Annabelle Parker (Cosette), Peter Neureuther (Marius), James D. Gish (Enjolras), Kate Kappel (Little Cosette), Grace Moore (Young Éponine) and Will Schulte (Petit Gervais/Gavroche) are Lee H. Alexander, Leah Berry, Patrick Blindauer, Matías De La Flor, Chris Hunter, Dan Klimko, Ángel Lozada, Daniel Brooks McRath, Sydni Moon, Grant Pace, Sarah Pansing, Nicholas Pattarini, Tim Quartier, Shelby Ringdahl, Matt Rosell, Grace Marie Rusnica, Liv Shivener, Sydney Short, Cecilia Snow, Kyle Timson, Noah Van Ess and Annie Zigman. The company also will be joined by the Muny Kids and Muny Teens Youth Ensemble.
The Les Misérables creative team is led by Director Seth Sklar-Heyn, with Choreographer Jesse Robb, Music Director James Moore and Associate Musical Director Michael Horsley.
The production includes Associate Choreographer Paige Parkhill, Scenic Designer Ann Beyersdorfer, Costume Designer Gail Baldoni, Lighting Designer Jason Lyons, Co-sound Designers John Shivers and David Patridge, Video Designer Shawn Duan, Wig Designer Ashley Rae Callahan and Production Stage Manager Willie Porter.
The Telsey Office is the official casting partner of The Muny.
As previously announced, 20 singers from the St. Louis Symphony Chorus will join the company as the supernumerary chorus for “Do You Hear the People Sing?,” “One Day More” and “Finale: Do You Hear The People Sing? (Reprise).” The singers are Nicholas Bashaw, Annemarie Bethel-Pelton, Rachel Buttram, Laurel Dantas, Mary Donald, Lea Frost, Megan Glass, John Herget, Matthew Jellinek, Jei Mitchell Evens, Hannah Nelson, Brian Pezza, Valerie Reichert, Greta Rosenstock, Paul Runnion, Matthew Stansfield, Philip Touchette, Robert Valentine, Nicole Weiss and Tristan Wood. Members of the St. Louis Symphony Chorus will appear as a courtesy and in partnership with the St. Louis Symphony Orchestra.
The Muny artistic staff includes Artistic Director & Executive Producer Mike Isaacson, Associate Artistic Director Michael Baxter, Production Manager Tracy Utzmyers and Music Supervisor Michael Horsley.
Here is John Riddle singing “Bring Him Home’ in rehearsals at The Muny, with music director James Moore accompanying him on piano. https://youtu.be/t33Cj8KB7g8?si=BM-_IyQ3AQVz5QBg
Principal Cast Bios
JOHN RIDDLE(Jean Valjean) received a St. Louis Theater Circle Award for his performance of Anatoly Sergievsky in last season’s production of Chess. Other Muny: Disney’s The Little Mermaid, Titanic, Show Boat, Legally Blonde and others. Broadway: The Visit (OBC), Frozen (OBC) and Raoul in the final company of The Phantom of the Opera. Off-Broadway/NY: Cal Hockley in Titanique the Musical (Lortel nomination), The Secret Garden in Concert (Lincoln Center), Cinderella’s Prince in Into the Woods (Town Hall). National tour: Evita. Regional: Kennedy Center, Long Wharf Theatre, Goodspeed, Pittsburgh Civic Light Opera, Casa Mañana, Naples Opera. Other: Cincinnati Pops Orchestra, American Pops Orchestra.
JORDAN DONICA(Javert) most recently starred as Sir Lancelot in the Lincoln Center Theater production of Camelot, for which he received a Tony Award nomination. He originated the role of Freddy Eynsford-Hill in the Tony-nominated My Fair Lady (Lincoln Center Theater) and starred as Raoul in Broadway’s The Phantom of the Opera. New York City Center Encores!: Into the Woods (Rapunzel’s Prince). Tour: Hamilton (first national tour, Marquis de Lafayette/Thomas Jefferson, SF/LA companies). Concerts: Washington National Opera, Pasadena Symphony, The New York Pops (Carnegie Hall), Indianapolis Symphony and Lincoln Center Theater’s Camelot. Featured performer at the American Songbook Hall of Fame. TV: Jordan Chase in the CW’s Charmed. Directing: The Exonerated in conjunction with the Center on Wrongful Convictions, Little Prints by Anna Mulhall.
TEAL WICKS(Fantine) On Broadway, Teal originated the roles of Lady in The Cher Show, Mary Barrie in Finding Neverland and Emma Carew in the revival of Jekyll & Hyde. She made her Broadway debut as Elphaba in Wicked after playing the role to critical acclaim in Los Angeles and San Francisco. Off-Broadway and across the US, Teal has created lead roles in The Ballad of Little Jo (Two River Theater), The Blue Flower (Second Stage/A.R.T.), Piece of My Heart: The Bert Berns Story (Signature Theatre NYC), The Life of the Party (TheatreWorks, with Andrew Lippa) and Fahrenheit 451 (59E59). TV/streaming appearances include The Peripheral (Amazon), The Night Agent (Netflix), NCIS: New Orleans, Evil, Elementary, The Good Wife, Chicago Justice.
RED CONCEPCIÓN (Thénardier) Broadway: Chicago (Amos Hart). National/International tours: Miss Saigon (The Engineer, US national and UK/Ireland tours). Asian and Philippine credits: Priscilla, Queen of the Desert (Adam/Felicia; Manila and Singapore; Gawad Buhay Outstanding Male Lead in a Musical and Aliw Award for Best Actor in a Musical), Equus (Alan Strang), The Normal Heart (Tommy), Annie (Rooster), Rodgers & Hammerstein’s Cinderella (Lionel), West Side Story (A-rab) and more.
JADE JONES(Madame Thénardier) The Muny: Disney & Cameron Mackintosh’s Mary Poppins, The Color Purple. Off-Broadway: Vanities. Regional: Disney’s Beauty and The Beast (Belle), A.D. 16, The Amen Corner, Macbeth, Into the Woods, The Wiz, 110 in the Shade, Sweeney Todd, School Girls; or, The African Mean Girls Play. TV: Chicago P.D., Cinderella: The Reunion, A Special Edition of 20/20 (ABC).
KEN PAGE(The Bishop of Digne) has performed in over 45 shows on the Muny stage. Ken is widely known as the voice of Mr. Oogie Boogie in the classic Disney/Tim Burton animated film The Nightmare Before Christmas. He has performed the score live at The Hollywood Bowl, Barclays Center NY, LA’s Banc of California Stadium, Glasgow, London (SSE Arena, Wembley), Dublin and Tokyo. Film: Dreamgirls, Torch Song Trilogy, All Dogs Go to Heaven and more. Ken made his Broadway debut in the all-Black revival of Guys and Dolls as Nicely-Nicely Johnson (Theatre World Award). Other Broadway: Cats (Old Deuteronomy, OBC video/film cast), Ain’t Misbehavin’ (OBC, LA, Paris, Drama Desk Award for Best Actor, Grammy Award cast album), The Wiz (Lion). London’s West End: Children of Eden (Father, OLC), My One and Only in Concert (London Palladium). Mr. Page’s solo concert, Page By Page, was released on CD (LML Music). He is the recipient of a Lifetime Achievement Award from the Manhattan Association of Cabaret Artists (MAC), Project One Voice/Black Theatre and the St. Louis Arts Foundation.
EMILY BAUTISTA(Éponine) made her Broadway debut in the 2017 revival of Miss Saigon, where she understudied the lead role of Kim. She later returned to the role full time on the first national tour. In between the Broadway and touring productions of Miss Saigon, Emily took on the role of Éponine in Cameron Mackintosh’s North American touring production of Les Misérables. Following her time on tour, Emily made her London debut in the world premiere of Vanara: The Legend in the lead role of Ayla. On television, she is recognized for her role as Elodie on Pretty Little Liars: Original Sin. Additionally, Emily has made notable appearances in films The Compound (2021) and Which Brings Me to You (2023).
GRACIE ANNABELLE PARKER(Cosette) Regional: Guys and Dolls (Sarah Brown, The Carnegie), Brigadoon (Fiona, Wagon Wheel), Legally Blonde (Ensemble). Gracie is a recent graduate of the University of Cincinnati College-Conservatory of Music, BFA musical theatre.
PETER NEUREUTHER(Marius) Regional: Newsies (Jack Kelly) at the Warsaw Federal Incline Theater. Peter is a recent graduate of the University of Cincinnati’s College-Conservatory of Music (CCM).
JAMES D. GISH(Enjolras) Broadway: Wicked (Fiyero). Off-Broadway: The Light in the Piazza (Fabrizio, New York City Center Encores!), The Jerusalem Syndrome (Mickey Rose, York Theatre, OOBC). National tours: Beautiful (Gerry Goffin), Les Misérables (Feuilly). Recent regional: Daddy Long Legs (Jervis, Phoenix Theatre Co.), West Side Story (Tony), Newsies (Jack Kelly) and The Toxic Avenger (Toxic Avenger).
KATE KAPPEL(Little Cosette) was last seen at The Muny in The Sound of Music (Gretl von Trapp) and in the Youth Ensemble of Joseph and the Amazing Technicolor Dreamcoat and Sister Act. Kate is 12 years old and just finished the sixth grade at South City Catholic Academy in St. Louis. She is a vocal student at Lisa Christine Studios and learns dance at the Professional Dance Center, where she is a member of the Ensemble competition team. Kate is a member of the Muny Kids and Muny Holiday troupes.
GRACE MOORE (Young Éponine) is 10 years old and is going into fifth grade, where she sings with her school choir and is a student house leader. Grace studies dance at Performing Arts Centre. She performs with the competition team and is a classroom helper. She studies voice with Kelly Stinnett Studios.
WILL SCHULTE(Petit Gervais/Gavroche) made his Muny debut in the Youth Ensemble of Beauty and the Beast last summer and is so excited to be performing with the Muny Kids touring troupe this summer. Will has also performed with Gateway Center for Performing Arts and was most recently seen as Kassim in Aladdin Jr. at his school. Will studies voice with Katie Kopff and also enjoys playing tennis. He will be attending St. Louis University High School in the fall.
Les Miz Broadway revival 2014
About the Show
Les Misérables previously was produced at The Muny in 2007 and 2013. The show includes music by Claude-Michel Schönberg and lyrics by Herbert Kretzmer, with a book by Alain Boublil and Claude-Michel Schönberg. Set against the backdrop of post-Revolutionary France and based on Victor Hugo’s 1862 novel, this celebrated musical follows the journey of Jean Valjean, an ex-convict seeking a fresh start, and his relentless pursuer, Javert. Its powerful songs and thrilling story of love, passion, sacrifice and redemption have been beloved the world over for generations.
Performances of Les Misérables begin at 8:15 p.m. nightly, June 17-23. Single-performance tickets and season tickets are on sale now at muny.org, by calling (314) 361-1900 or at the Muny Box Office in Forest Park.
To learn more about the Muny production of Les Misérables and the show’s history, visit muny.org/show/les-mis. For actor headshots, show logos, video and other assets, visit the Muny Press Room at muny.org/press.
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, we welcome more than 350,000 theatregoers each summer for seven world-class productions. Now celebrating 106 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre. For more information, visit muny.org.
I shouldn’t admit this, but during the intermission at opening night of Opera Theatre of St. Louis’ production of “La Bohème,” I thought of Cher.
I should have been madly scribbling notes about all of the salient aspects of this Puccini classic, as all good reviewers should, but instead I was thinking of Cher’s performance as Loretta Castorini in the movie “Moonstruck.” Specifically, the scene when she’s discussing her experience having just attended “La Bohème.”
“I was surprised…” she says. “You know, I didn’t really think she was gonna die. I knew she was sick.”
The “she” is Mimi, and if Loretta had seen lyric soprano Katarina Burton’s performance, she might have realized that Mimi really was gonna die. That’s because Burton maintains a tightly controlled, authentic simplicity that draws attention to Mimi’s inner life and emotional journey. That journey is imbued with a subtle-but-persistent death-hauntedness – starting with a small, foreshadowing cough as she makes her entrance in the first act.
The specter of death makes Burton’s performance of Mimi’s deterioration compelling, tragic and all the (tragically) sweeter, especially her love and tribulations with Rodolfo. I hesitate to write that line because I’ve become more than bit disillusioned with the whole dying heroine trope. You know, “Terms of Endearment,” “Steel Magnolias,” “Hope Floats,” “Beaches,” etc., etc.
It’s to Burton’s credit that I suspended my dislike for this narrative device. Her voice conveys the necessary subtle nuances and delivers Puccini’s demanding melodies with a beautiful legato and emotional depth. She is a convincing actress who genuinely portrays Mimi’s joy, love and eventual (inevitable) suffering.
That was enough to win me over to Team Mimi – as was her chemistry with Rodolfo. The dynamic of this duo in their duets and emotional scenes provides a satisfying balance in these interactions.
If Burton’s Mimi foreshadows her journey with a small cough, Moisés Salazar’s’ Rodolfo faces his journey’s climax with the catch of his throat when he realizes Mimi has died. Salazar’s performance provides many confident and fine moments, but it is at that catch of the throat that rang the truest, most human and genuine. It’s also the moment that makes clear his journey of loss is just beginning.
Salazar exhibits a powerful and expressive tenor voice that ably conveys lyrical tenderness, dramatic intensity and a palpable emotional connection and chemistry with Mimi, enhancing the romantic and tragic dimensions of their relationship. His acting abilities enlivened his Rodolfo’s youthful ardor and eventual despair.
Brittney Renee achieves another bit of opera theater magic in the final act. In the first three, Renee delivers a Musetta who displays the requisite range of confident liveliness and flamboyance with a touch of naughtiness (Café Momus, anybody?). But it’s her act of kindness toward Mimi in fourth act that most humanizes the character. Renee’s compassion adds genuine depth to the role.
Great chemistry is a hallmark of this cast, especially among the Bohemians – Thomas Glass as Marcello, André Courville as the philosopher, Collins, and Titus Muzi III as Schaunard. Collectively and individually, their vocal abilities combined with seamless ensemble singing, maintains harmonic unity, but it is in their camaraderie and musical interplay provides the necessary chemistry to drive much of the opera’s emotional and narrative depth.
Proof that there are no small roles in theater is found in the minor character Parpignol, the toymaker and vendor who makes his one and only appearance in Act II. Levi Adkins inhabits the character who contributes to the effervescence of the abundant, bustling Christmas Eve scene.
Most memorable is his Napoleonic hat, red and white jacquard pantaloons and backpack drum, thanks to the efforts of costume designer Amanda Seymour as well as wig and makeup designers Krystal Balleza and Will Vicari.
Another memorable costume is notable for a very different reason. It’s Mimi’s periwinkle blue coat and purse in Act II. As Mimi opens her heart to Marcello outdoors, they interact in the cold outdoors. The way Burton clings to that handbag while standing in a coat that is too light for such cold, reveals volumes about the uncomfortable state of her character.
It’s moments like this when the collective efforts of the cast, director Michael Shell, set design (Takeshi Kata) and lighting design (Marcus Doshi) align to elevate a small moment.
The members of members of the St. Louis Symphony Orchestra consistently provide terrific performances for OTSL performances – so much so that it’s easy to forget how important the music is. For “La Bohème,” the musicians, under the direction of José Luis Gómez, exquisitely convey the depth of characters’ sentiments and enhance the immersion in the poignant narrative.
As a member of the “chestnuts club,” opera’s “La Bohème” is like ballet’s “The Nutcracker” and can be counted on to put cheeks in seats. The regular appearance of a “La Bohème” of this quality should be celebrated because the opera stands up well to repeated viewings (and listenings) and is a good “gateway” to the artform. It’s like pressing replay, pulling on a favorite sweater or meeting a friend for lunch.
And, to invoke Cher once more, it makes me believe yet again “…in life after love..”
“La Bohème” is part of Opera Theatre of St. Louis 2024 repertory season continuing through June 30 at the Loretto-Hilton Center on the Webster University campus. For tickets or more information visit www.opera-stl.org.
Whether you have a family that always puts the ‘fun’ in dysfunctional or is going through a temporary rough patch, you will find something relatable in Lila Rose Kaplan’s crowd-pleasing comedy-drama “We All Fall Down.”
Nowhere is an extended family’s quirkiness more apparent that at a holiday gathering, and this setting is a Passover seder with the Jewish but non-practicing Steins coming together.
The territory navigated is both familiar and foreign. When the playwright’s wit, director Rebekah Scallet’s finesse, and the cast’s crisp comic timing percolate on all cylinders, it’s splendid.
Yet, there is a busyness that comes across as somewhat annoying. The seven characters are all pre-occupied, with the parents and two grown adult children overstuffed with personality peculiarities, and the three guests underdeveloped. Perhaps some trimming would have made it feel less congested.
While the resolution is heartfelt, it doesn’t feel as genuine or as earned as it could be, for the relationships are complicated, and the revelations feel rushed.
As we all know, often when people try too hard to make a celebration joyful, it fails to meet expectations because of uncooperative moving parts.
Add befuddlement as to why this festival is happening now when it’s never been a big deal, which adds a layer – and everyone is in various degrees of a tizzy.
While psychologist and family therapist mom Linda (Mindy Shaw), history professor dad (Alan Knoll), yoga instructor daughter Ariel (Hailey Medrano), feminist activist-educator daughter Sammi (Bridgette Bassa), sarcastic aunt Nan (Jenni Ryan), a sweet but sensitive friend Bev (Bethany Barr) and an efficient assistant Ester (Taijha Silas) are preparing for this specific meal with their own ‘to-do’ lists, wackiness ensues, and universal truths give way.
Mindy Shaw, Hailey Medrano. Photo by Jon GItchoff.
In Judaism, Passover commemorates the Hebrews’ liberation from slavery in Egypt, sparing the first-born of the Israelites on the eve of the Exodus. There are specific rituals handed down through generations, and Kaplan deftly explains traditions to those of us not in the know.
Those of other faiths can identify with their own heritage’s touchstones while the evergreen themes of people growing older, and children growing up strike chords.
The ensemble meshes well, conveying all the stress, resentments and aggravations that a holiday represents, but also their unique family dynamic and relationships. As in real life, a delicate balance between mothers, fathers, daughters and sisters is always shifting.
Sunrise, sunset Swiftly fly the years One season following another Laden with happiness and tears
Knoll, whose performances are always lived in and first-rate, has shaded Saul with convincing layers, coming across at first as good-natured but concealing a troubled soul.
His memory is fading, and he’s confused, disconnected, and not understanding what’s happening, although he’s trying to cling tight to his routines.
His patterns are being interrupted by all the hubbub, and glimpses of what’s happening begin to be noticed by the others when they start paying attention. Most everyone is in their own little bubble and must eventually find the compassion they need at this moment. Frustrated, he won’t admit or can’t come to terms with his cognitive decline.
Alan Knoll, Bridgette Bassa, with Jenni Ryan in background. Photo by Jon Gitchoff.
Those who’ve witnessed a loved one lose parts of themselves through Alzheimer’s disease or other forms of dementia can recognize the symptoms that Kaplan astutely presents.
A flustered, frantic melodramatic wife and mother, Linda is played as a demanding perfectionist with nervous energy by the lissome and facile Mindy Shaw.
This bossy control freak and bestselling author has a hidden agenda that keeps everyone guessing as to why she’s going to all this trouble. She’s a little kooky dressing up in costumes and flitting about.
Her two daughters, with secrets of their own, are focused on their problems and not why their dad may have retired early, why he’s drinking so much, or why mom’s making the signature dishes for what an old neighbor describes as “Jewish Easter.”
As adult daughters, Bassa and Medrano affect a realistic sibling rivalry and dissatisfaction with their current paths. Intelligent and limber performers, Bassa and Medrano bounce off each other like women with a history, and their rhythm is naturalistic.
There is an undercurrent of tension that may be connected to their mother’s book “Mothering Difficult Children”,” which is a hoot.” (What a great title!).
Ryan plays Saul’s outspoken sister, Aunt Nan, a part that seems straight out of sitcom land, as does Barr’s Bev, an empty nester who once lived across the street.
Silas has a nice turn as Linda’s graduate assistant who is tasked with singing “The Four Questions,” and does so beautifully.
Taijha Silas as Ester. Photo by Jon Gitchoff.
The two-story suburban home setting designed by Andrea Ball is a marvel of functionality and comfort. The kitchen is stocked with all the necessary ingredients and tools to make Kugel and matzo balls, and the girls’ childhood bedroom becomes an oasis (as does a bathroom).
The technical design work is as admirable as ever, with Michael Sullivan’s lighting design and Michelle Friedman Siler’s costume design both stellar components. Cecille “Cece” Entz’ prop work is noteworthy — an appealing mix of years of clutter.
Ellie Schwetye’s sound design is always significant, and this time her mix tape choices are interesting — especially the specific “War of 1812 Overture” that’s in the script.
Kaplan crafted this play with heart. Originally produced in 2020 in Boston, this presentation is the regional premiere in St. Louis. She has a flair for tackling issues from a woman’s point of view, which is refreshing. However, the tone shifts several times, which happens when the material is both a comedy and a drama.
Scallet, also the artistic director, has helmed this show in a light-hearted way, even though the theme is heavy – parents must be taken care of even when you can’t take care of yourself
She and the playwright met years ago when Scallet was directing Kaplan’s play “Catching Flight,” which was part of a new play development program, and became friends.
The main takeaway is that traditions should be appreciated and familial love is the foundation of life. Whatever our families are going through, we can lean on each other for comfort and strength. All families deal with loss, lose their way, and re-emerge with new customs, yet never forgetting those who have passed.
Memories are made, and passed on through generations — simple yet profound.
Alan Knoll, Jenni Ryan. Photo by Jon Gitchoff.
The New Jewish Theatre presents “We All Fall Down” from May 30 to June 16 at the JCCA’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis. The play is 95 minutes without an intermission. Performances are Thursdays at 7:30 p.m., Saturdays at 4 and 8.p.m., and Sundays at 2 p.m. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.
Special Note: Scallet will host two additional talkbacks with show audiences on Saturday, June 14 following the 4 p.m. performance, and on Thursday, June 6, following the 7:30 p.m. performance.
