MST’s ‘Well’ Examines Mother-and-Daughter Dynamics with Charm and Humor

MST’s ‘Well’ Examines Mother-and-Daughter Dynamics with Charm and Humor

By Lynn Venhaus
Managing Editor
Unexpectedly charming and heartfelt, the experimental but relatable “Well”
breaks the fourth wall just enough to easily win over the audience.

In fact, the disarming play purported to be about health
and wellness is more like a fluid, thought-provoking conversation that pulls us
in – and a running internal monologue by the lead character, playwright Lisa
Kron, about family and neighbors, and in sickness and in health.

The keen Katy Keating is endearing as the exasperated Lisa,
whose ailing mother presses all her buttons and she turns into the perpetual
angsty and whiny 13-year-old she once was and has been desperately trying to
shed that old fragile skin ever since.

Lisa tries to convince us that her latest creation –
expanded as a change of pace from her one-woman shows – is “a multi-character
theatrical exploration of issues of health and illness both in the individual
and in the community.”

But really, the complicated mother-daughter relationship is
its foundation, with a side trip into their racially integrated neighborhood in
Lansing, Mich., which was spearheaded by her compassionate, liberal mother.

Mom Ann (Lori Adams) has the usual aches and pains
associated with aging, but she suffers from some sort of undiagnosed ailment
that appears to be like chronic fatigue syndrome or fibromyalgia. She is
convinced allergies keep her homebound and infirmed.

She’s made her recliner the point of operations. She perks
up watching ice skating and giving her daughter pearls of wisdom.

Mom, in her current state, seems like a kind senior citizen
whose days pass without much consequence. But every so often, she has a burst
of energy.

As played by Adams, Ann would have been quite a Mom force in the neighborhood back in the day – and we would have taken an instant shine to her. Here, we wish the frail Mom would get better so she could be productive. But she’s lovable in that earth mother kind of way.

If Lisa would get out of her own way, she’d be more confident and less tied to the past. But it’s fun to see childhood memories spring from her talented castmates. And that’s a whole other tangent. She’s searching for answers that she might never be satisfied with, ever. (If she’d only listen to Mom — and herself.)

Mom tries not to intrude but does indeed pull focus in their wonderfully lived-in middle-class Midwestern-appointed living room, deftly decorated by scenic designer Bess Moynihan and props master Laura Skroska — the rabbit tchotchke! The dainty appliqued afghan!

The pair work beautifully together and convey that longstanding complex mother and daughter relationship so well.

The entire ensemble is first-rate, with Leslie Wobbe, Carl Overly Jr., Robert Thibault and Alicia Reve Like effortlessly transitioning into different characters – severely allergic patients, old neighbors, and even themselves.

But the formidable anchor is Katy, whose sincerity and natural affability carry the show. We root for her and believe in her, despite her wrestling with personal torment. Katy, who is such an intuitive performer, can go through a gamut of emotions in a nano-second.

Director Deanna Jent knows how to extract nuanced work from her players, and she has adroitly staged this show for maximum effect.

We’re engaged by the material, yes, but we’re also captivated by the production elements.

Playwright Kron is an interesting writer, allowing herself
to be transparent in her works. No wonder she won two Tony Awards for the book
and lyrics to the musical “Fun Home.” In 2004, she wrote “Well,” which was
produced off-Broadway. Two years later, it was on Broadway.

Her clever style works well in Mustard Seed Theatre’s Blackbox theater, and the production team’s attention to detail is superb, with Michael Sullivan’s lighting design and Zoe Sullivan’s sound design enhancing the setting. Costumes by Jane Sullivan are appropriate to the story.

Witty and whimsical, serious and playful, “Well” is a
multi-layered discourse that is both fresh and familiar. And it hits close to
home because of its captivating cast.

Mustard Seed Theatre presents “Well” by Lisa Kron Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. March 1 – March 17 in the Fontbonne University Fine Arts Theatre. For more information, visit www.mustardseedtheatre.com.

Katy Keating, Carl Overly Jr. and Alicia Reve Like. Photo by Ann Auerbach.

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‘Dear Evan Hansen,’ ‘The Band’s Visit’ and 5-Week return of ‘Hamilton’ Highlight The Fox’s 2019-2020 Season

‘Dear Evan Hansen,’ ‘The Band’s Visit’ and 5-Week return of ‘Hamilton’ Highlight The Fox’s 2019-2020 Season

The Fabulous Fox Theatre brings the Best of Broadway to St. Louis with the announcement of the 2019–2020 U.S. Bank Broadway Series, including four new musicals that will make their St. Louis debuts. The seven-show season ticket package is headlined by pop culture phenomenon DEAR EVAN HANSEN. The season opens with the winner of four Tony® Awards including Best Revival of a Musical, HELLO, DOLLY!. Get ready to dance into 2020 with SUMMER: THE DONNA SUMMER MUSICAL,followed bythe 2018 Tony® Award Winner for Best Musical, THE BAND’S VISIT.  Embark on a mesmerizing joyride through a world of pure imagination with Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY.  The memory lives again when CATS, the record-breaking musical spectacular, comes to St. Louis in April and HAMILTON returns to close out the season for a limited five-week engagement! The season also features seven series specials that will include St. Louis’ most “popular” musical WICKED. 

HELLO, DOLLY! | October 1-13, 2019

Winner of four Tony® Awards including Best Musical Revival, HELLO, DOLLY! is the universally acclaimed smash that NPR calls “the best show of the year!” and the Los Angeles Times says “distills the mood-elevating properties of the American musical at its giddy best.”DirectorJerry Zaks’ “gorgeous” (Vogue) new production is “making people crazy happy!” hails The Washington Post. Afterbreaking box office records week after week and receiving unanimous raves on Broadway, this HELLO, DOLLY! is now touring America, paying tribute to the original work of legendary director/choreographer Gower Champion – hailed both then and now as one of the greatest stagings in musical theater history. Rolling Stone calls it “a must-see event. A musical comedy dream. If you’re lucky enough to score a ticket, you’ll be seeing something historic. Wow, wow, wow, indeed!”

DEAR EVAN HANSEN | October 22 – November 3, 2019

The much anticipated DEAR EVAN HANSEN, winner of six 2017 Tony® Awards including Best Musical and the 2018 Grammy® Award for Best Musical Theater Album, is coming to St. Louis this fall.  A letter that was never meant to be seen, a lie that was never meant to be told and a life he never dreamed he could have, Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in. DEAR EVAN HANSEN is the deeply personal and profoundly contemporary musical about life and the way we live it.  DEAR EVAN HANSEN has struck a remarkable chord with audiences and critics everywhere, including The Washington Post which says DEAR EVAN HANSEN is “one of the most remarkable shows in musical theatre history.” The New York Times calls it “a gut-punching, breathtaking knockout of a musical.” And NBC Nightly News declares the musical “an anthem resonating on Broadway and beyond.” DEAR EVAN HANSEN features a book by Tony Award-winner Steven Levenson, a score by Grammy®, Tony and Academy Award® winners Benj Pasek and Justin Paul (La La Land, The Greatest Showman), and direction by four-time Tony Award nominee Michael Greif (Rent, Next to Normal).

SUMMER: THE DONNA SUMMER MUSCAL | January 15-26, 2020

She was a girl from Boston with a voice from heaven, who shot through the stars from gospel choir to dance floor diva. But what the world didn’t know was how Donna Summer risked it all to break through barriers, becoming the icon of an era and the inspiration for every music diva who followed.  With a score featuring more than 20 of Summer’s classic hits including “Love to Love You Baby,” “Bad Girls” and “Hot Stuff,” this electric experience is a moving tribute to the voice of a generation.  SUMMER: THE DONNA SUMMER MUSICAL takes us through Donna Summer’s tumultuous life, tempestuous loves and mega-watt musical hits. Spend the night in her electrifying universe.

THE BAND’S VISIT | February 25 – March 8, 2020

Spend an evening in the company of unforgettable strangers at THE BAND’S VISIT—now one of the most celebrated musicals ever with ten 2018 Tony® Awards including Best Musical. And now it’s also a Grammy Award® winner for Best Musical Theater Album. THE BAND’S VISITrejoices in the way music brings us to life, brings us to laughter, brings us to tears, and ultimately, brings us together.  In an Israeli desert town where every day feels the same, something different is suddenly in the air. Dina, the local café owner, had long resigned her desires for romance to daydreaming about exotic films and music from her youth. When a band of Egyptian musicians shows up lost at her café, she and her fellow locals take them in for the night. Under the spell of the night sky, their lives intertwine in unexpected ways, and this once sleepy town begins to wake up.   

Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY | March 17-29, 2020

Roald Dahl’s amazing tale is now St. Louis’ golden ticket! It’s the perfect recipe for a delectable treat: songs from the original film, including “Pure Imagination,” “The Candy Man,” and “I’ve Got a Golden Ticket,” alongside a toe-tapping and ear-tickling new score from the songwriters of Hairspray.   Willy Wonka is opening his marvelous and mysterious chocolate factory…to a lucky few. That includes Charlie Bucket, whose bland life is about to burst with color and confection beyond his wildest dreams. He and four other golden ticket winners will embark on a mesmerizing joyride through a world of pure imagination. St. Louis audiences will experience the wonders of Wonka like never before – with Oompa-Loompas, incredible inventions, the great glass elevator, and more, more, more at this everlasting showstopper!

CATS | April 7-19, 2020

CATS, the record-breaking musical spectacular by Andrew Lloyd Webber that has captivated audiences in over 30 countries and 15 languages, is now on tour across North America! Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater—”Memory”. Winner of 7 Tony Awards® including BEST MUSICAL, CATS tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. The original score by Andrew Lloyd Webber (The Phantom of the Opera, School of Rock, Sunset Boulevard), original scenic and costume design by John Napier (Les Misérables), all-new lighting design by Natasha Katz (Aladdin), all-new sound design by Mick Potter, new choreography by Andy Blankenbuehler (Hamilton) based on the original choreography by Gillian Lynne (Phantom) and direction by Trevor Nunn (Les Misérables) make this production a newCATS for a new generation!

HAMILTON | May 5 – June 7, 2020

HAMILTON is  the  story  of  America’s  Founding  Father  Alexander  Hamilton,  an  immigrant  from the  West  Indies  who  became  George  Washington’s  right-hand  man  during  the  Revolutionary War  and  was  the  new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, HAMILTON is the story of America then, as told by America now.  With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s biography of Founding Father Alexander Hamilton.

Series Specials

Seven Broadway specials will be offered to 2019–2020 season ticket holders for priority seating before their public on-sale dates.

The party starts with Jimmy Buffett’s ESCAPE TO MARGARITAVILLE October 18-20, the musical comedy featuring both original songs and your most-loved Jimmy Buffett classics. See what all the noise is about with STOMP November 15-17, now celebrating 25 years in New York City. CIRQUE DREAM HOLIDAZE lights up the Fox stage with its popular and electrifying holiday stage spectacular November 29-30. St. Louis’ most “popular” musical WICKED returns for the holidays December 4-29.JERSEY BOYS will take you from the streets of New Jersey to the Rock ‘n’ Roll Hall of Fame January 30-February 2. RIVERDANCE comes back to St. Louis with a powerful and new 25th Anniversary production February 14-16. Back by popular demand, the Pulitzer Prize and Tony® Award winning show RENT continues to speak loudly and defiantly to audiences February 21-23.

New seven-show season ticket packages will go on sale May 8 at 10 a.m. Current U.S. Bank Broadway season ticket holders will receive their renewal information the week of March 18. On-sale dates for individual shows will be announced later. For more information, please call the Fox Subscription office at 314-535-1700. Groups of 10 or more should call 314-535-2900 for special rates and reservations. The Broadway Series at the Fabulous Fox Theatre is presented by U.S. Bank.

2019 – 2020 U.S. Bank Broadway Series Shows and Specials:

(The Seven Season Ticket shows are in bold)

HELLO, DOLLY! * October 1-13, 2019

Jimmy Buffett’s ESCAPE TO MARGARITAVILLE * October 18-20, 2019

DEAR EVAN HANSEN * October 22 – November 3, 2019

STOMP * November 15-17, 2019

CIRQUE DREAMS HOLIDAZE * November 29-30, 2019

WICKED * December 4-29, 2019

SUMMER: THE DONNA SUMMER MUSICAL * January 15-26, 2020

JERSEY BOYS * January 30 – February 2, 2020

RIVERDANCE New 25th Anniversary Show * February 14-16, 2020

RENT 20th Anniversary Tour * February 21-23, 2020

THE BAND’S VISIT * February 25 – March 8, 2020

Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY * March 17 – 29, 2020

CATS * April 7-19, 2020

HAMILTON * May 5 – June 7, 2020

#              #              #

Megan Ketcherside

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Go See a Play! What’s Happening March 8-13

Go See a Play! What’s Happening March 8-13

By Lynn VenhausManaging EditorWe Are Family — that’s the running theme of several productions opening or continuing their runs: “August: Osage County” at Kirkwood Theatre Guild, “La Cage Aux Folles” at New Line Theatre, “Farce of Habit” at KTK Productions and “Well” at Mustard Seed Theatre.And also the family that you make — “Company” at Over Due, “One Flew Over the Cuckoo’s Nest” at Theatre Guild of Webster Groves, “Avenue Q” at the Playhouse at Westport and “The Glitter Girls” at Webster Groves.The Carole King musical “Beautiful” comes to the Fox for a limited run and “Nonsense and Beauty” opens at The Rep’s Studio Theatre.Whether it’s deep-diving drama or lighthearted comedy, or catchy musicals that you are in the mood for, GO SEE A PLAY!

Photo by Lori Biehl“The 25th Annual Putnam County Spelling Bee”O’Fallon Theatre WorksMarch 1-3 and 8-10Friday and Saturday at 8 p.m., and Sunday at 2 p.m.O’Fallon City HallTickets: www.ofallon.mo.usTickets are on sale now at the Renaud Spirit Center and at the box office, which opens one hour before each show.What It’s About: Winner of the Tony and the Drama Desk Awards for Best Book, “The 25th Annual Putnam County Spelling Bee” is a musical comedy with a funny book by Rachel Sheinkin and a vibrant musical score by William Finn.

An eclectic group of six adolescents vies for the spelling championship of a lifetime. While candidly disclosing hilarious and touching stories from their home lives, the tweens spell their way through a series of (potentially made-up) words, hoping never to hear the soul-crushing, pout-inducing, life un-affirming “ding” of the bell that signals a spelling mistake. Six spellers enter; one speller leaves! At least the losers get juice boxes.

A riotous ride complete with audience participation, “The 25th Annual Putnam County Spelling Bee” is a fast-paced crowd-pleasing comedy.

Director: Melissa Boyer, with music director Wendi Dicken and choreographer Cameron Bopp.Starring: Ann Hier Brown, Mark Killmer, Benni Jillette, James McKinzie, Ben Ketcherside, Josh Towers, Hayden Hays, Mia Porcelli and Stefanie Kluba. 

“August: Osage County”Kirkwood Theatre GuildMarch 8 – 17Roger G. Reim Theatre111 S. Geyer Roadwww.ktg-onstage.org314-821-9956What It’s About: Winner of the 2008 Pulitzer Prize and Tony Award for Best New Play, “August: Osage County” centers around the Weston family, brought together after their patriarch, world-class poet and alcoholic, Beverly Weston, disappears. The matriarch, Violet, depressed and addicted to pills and “truth-telling,” is joined by her three daughters who harbor their own deep secrets. More family arrives, equally well-trained in the Weston family art of cruelty. Bursting with humor, vivacity and intelligence.

“Avenue Q” The Playhouse at Westport PlazaJan. 25 – March 17www.playhouseatwestport.com

What It’s About: Part flesh, part felt and packed with heart, “Avenue Q” is a laugh-out-loud musical telling the story of Princeton, a college grad who moves into the city with big dreams and a tiny bank account. He and his Avenue Q neighbors struggle to find jobs, dates and their life’s purpose.

Director: Lee Anne Mathews, with Music Director Charlie Mueller

Starring: Andrew Keeler, Brent Ambler, Jennifer Theby-Quinn, Kevin O’Brien, Grace Langford, Illeana Kirven, April Strelinger

Of Note: For mature audiences. “Avenue Q” won three Tony Awards, including Best Musical.

Sarah Bockel as Carole King.“Beautiful – The Carole King Musical”Fox TheatreMarch 12-17Performances are Tuesday through Saturday at 7:30 p.m., Saturday at 2 p.m., and Sunday at 1 p.m. Matinee March 14 at 1 p.m.What It’s About: The life of composer Carole King.

“Company”Over Due TheatreMarch 1-3, 8-108 p.m. Friday and Saturday, 2 p.m. SundayOlivette Community Center9723 Grandview314-210-2959www.overduetheatrecompany.com

What It’s About: First produced in 1970, Company was nominated for a record-setting fourteen Tony Awards and won six, including Best Musical. Company takes an unvarnished look at marriage through the eyes of Bobby who, unmarried on his thirty-fifth birthday, finds himself lost in the company of his married friends. With his trademark wit and sophistication, Stephen Sondheim examines the flawed nature of human relationships as Bobby journeys towards the realization that, in spite of all of his friends’ failings, there is no point in “Being Alive” unless he has someone with whom to share it.

“Farce of Habit”KTK ProductionsMarch 8 – 17Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. St. John the Baptist Church 4200 Delorwww.kurtainkall.org314-351-8984 What It’s About: This absurdly funny Southern-fried romp takes us back to the Reel ‘Em Inn fishing lodge where this bizarre family guides you through a new series of preposterous events in “Farce of Habit.” Add to the original characters a gaggle of nuns on retreat, a nationally known relationship guru, a shy retiree and a couple of women who may (or may not be) who they claim to be. Throw in an approaching “storm of the century” and the fact that there is an axe murderer on the loose and you will be laughing your way through the lunacy of another Jones, Hope and Wooten comedy.

“The Glitter Girls”Alton Little TheaterMarch 1- 10Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m.2450 North Henry in Alto618.462.6562www.altonlittletheater.org.

What It’s About: A brand new play economically described as “Steel Magnolias” meets “Survivor,” with a big dose of quirky humor thrown in for good measure. A strong ensemble play, which questions the wisdom of sudden wealth and the bonds of friendship.

Of Note: Sunday, March 10 is sold out.

Robert Doyle and Zak Farmer. Photo by Jill Ritter Lindberg.“La Cage Aux Folles”New Line TheatreFeb. 28 – March 23Thursday, Friday and Saturday at 8 p.m.Marcelle Theater, 3310 Samuel Shepard Drivewww.newlinetheatre.com

Tickets: MetroTix.com

What It’s About: What happens when the son of a middle-aged gay couple brings home the daughter of an arch-conservative politician — and her parents — for dinner? Musical comedy ensues.

“La Cage Aux Folles” takes place on the French Riviera for a night of love, laughs, illusions and truths, and the triumph of family over bullies and bigots.

Based on the 1973 French play and its 1978 film adaptation, “La Cage Aux Folles” tells the story of a middle-aged show business couple, grappling with aging, fidelity, kids, and holding on to their dignity when the world around them would rather strip it away. At the center is Georges, a St. Tropez nightclub owner, and his husband Albin, who is also the club’s erratic headliner Zaza. When Georges’ son gets engaged to the daughter of a right-wing politician, we see the politics and culture wars of 2019, at their most ridiculous and most fevered, onstage right in front of us.

Director: Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez and choreography by Michelle Sauer and Sara Rae Womack.Starring: Zachary Allen Farmer (Albin/Zaza), Robert Doyle (Georges), Kevin Corpuz (Jean-Michel), Tielere Cheatem (Jacob), Zora Vredeveld (Anne), Kent Coffel (M. Dindon), Mara Bollini (Mme. Dindon), Lindsey Jones (Jacqueline), Joel Hackbarth (Francis), and as the notorious Cagelles – Jake Blonstein, Dominic Dowdy-Windsor, Evan Fornachon, Tim Kaniecki, Clayton Humburg, and Ian McCreary..

Of Note: In its original 1983 production, the show was a safely old-fashioned musical comedy. But in its 2008 London revival and 2010 Broadway revival, the show was transformed from a lightweight comedy into a more serious story with a lot of laughs.

The original 1983 Broadway production ran four years and 1,761 performances. The show received nine Tony nominations and won six, including Best Musical, Best Score and Best Book — beating out Sondheim’s Sunday in the Park with George. It’s been revived on Broadway and in London multiple times.

. ©Photo by Jerry Naunheim Jr.“Nonsense and Beauty”The Repertory Theatre of St. LouisEmerson Studio TheatreMarch 6 – 24www.repstl.org314-What It’s About: In 1930, the writer E.M. Forster met and fell in love with a policeman 23 years his junior. Their relationship, very risky for its time, evolved into a 40-year love triangle that was both turbulent and unique. Based on a true story, Nonsense and Beauty captures the wit and wisdom of one of the last century’s great writers. This world premiere was developed as part of The Rep’s 2018 Ignite! Festival of New Plays.Director: Seth GordonStarring: Jeffrey Hayenga, Robbie Simpson, John Feltch, Lori Vega and Donna Weinsting.

“One Flew Over the Cuckoo’s Nest”The Theatre Guild of Webster GrovesMarch 1-3, 7-10Shows at 8 p.m., except Sunday matinees at 2 p.m. 517 Theatre Lane, Webster GrovesTickets are available only at the door (cash or check). Sorry, we do not take advanced reservationswww.theatreguildwg.org 314-962-0876

What It’s About: Ken Kesey’s iconic counter-culture novel is set in a psychiatric hospital, where convicted criminal McMurphy winds up. He challenges authority and changes patients’ lives. This is the play adaptation, which was turned into an Oscar-winning film.

Director: Jessica Johns-Kelly.

Starring: Jerry Crump, Matthew Linhardt, Betsy Gasoske, Greg Savel, Tyler Crandall, Hal Morgan, Jason Blackburn, David Eiben, Christian Davis, Sherre Ward, Scott Ewers, Russ Leonard, Donald Kidd, Aaron Mermelstein, Noreen Ann G. Rhodes and Amie Bossi.

Of Note: This show contains content not suitable for children.

The Theatre Guild of Webster Groves is very old historic building with many steps and is not handicapped or wheelchair accessible.

“Twelfth Night”St. Charles Community CollegeMarch 6 – 10Wednesday through Saturday at 7:30 p.m., Thursday at 10 a.m., and Sunday at 2 p.m.SCC Center Stage Theater in the Donald D. Shook Fine Arts Building on the campus at 4601 Mid Rivers Mall Drive in Cottlevillewww.stchas.edu636-922-8050 What It’s About: Stranded on the coast of Illyria, the quick-witted Viola assumes the disguise of a pageboy for Duke Orsino and finds herself at the center of an explosive love triangle in which identity, passion and gender all threaten to come undone. Bursting with vitality and romance, this delightful abbreviated version of “Twelfth Night” gives us one of Shakespeare’s most remarkable heroines matching wits with a host of captivating characters–from the love-struck Olivia to the puritanical Malvolio.

“Two Degrees”Tesseract Theatre CompanyMarch 8 – 17Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m.The .ZACK, 3224 Locust in Midtownwww.tesseracttheatre.org

What It’s About: In a new play by Tira Palmquist, , Emma Phelps is a paleoclimatologist, focusing on ice in Greenland. In drilling and studying ice core samples, she sees first hand the symptoms of our changing planet, which makes the need to act all the more crucial and urgent. In addition to her growing sense of urgency for the planet, Emma, as a recent widow, experiences grief that compounds itself with each passing month. Now she’s been asked to come to Washington D.C. to testify in a Senate Committee regarding climate change legislation, and in this intersection of science and politics, of politics and the personal, she finds more than just a little is breaking up under the strain of change.

“Well”Mustard Seed TheatreFontbonne Fine Arts Theatre314-719-8060www.mustardseedtheatre.com

What It’s About: Lisa Kron’s experimental play intends to explore racial and religious integration and cultural concepts of health. She does not want to talk about her Mother, who unexpectedly joins her on stage. What could possibly go wrong?

Director: Deanna Jent

Starring: Lori Adams, Katy Keating, Alicia Reve Like, Carl Overly Jr., Robert Thibault and Leslie Wobbe.

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That Uppity Theatre Company Raised Over $10,000 for NARAL Pro-Choice Missouri

That Uppity Theatre Company Raised Over $10,000 for NARAL Pro-Choice Missouri

Over Valentine’s Day weekend, That Uppity Theatre Company produced two sold out performances of The Vagina Monologues by Eve Ensler as the official site for V-Day Missouri 2019, raising over $10,000 in honor of the 50th anniversary of NARAL Pro-Choice Missouri, the state’s largest grassroots pro-choice organization. The show’s success persisted despite a snow storm, censorship from Facebook ads, and competition from one of the busiest weekends of the year. The play was performed at the .ZACK at 3224 Locust St., St. Louis, MO 63103 in Grand Center on Saturday, February 16th at 7:30 PM and Sunday, February 17th at 2 PM. “I believe access to reproductive healthcare is a human right and a fundamental freedom,” said Joan Lipkin, Artistic Director of That Uppity Theatre Company, and producer of V-Day St Louis who selected NARAL Pro-Choice Missouri as the chief beneficiary of the production. “With the Trump administration and anti-choice lawmakers dominating both Congress and the statehouse, it is essential that we lend support in every way, including monetarily. Ninety percent of the proceeds from the show benefited NARAL Pro-Choice Missouri. Everyone volunteered their time to support NARAL Missouri. It is tremendous how many artists in the St Louis community came forward to share their skills to oppose this violence against women.” TUTC’s production broke ground as the first professional production of the play in St. Louis to include four transgender performers. The show was lead by a cast of 25 women, including six live percussionists, and co-directed by a team of four female directors. The cast included cisgender, transgender, non-binary, African American, Asian American, Latina, white, immigrant, and refugee women, spanning several decades in age. The monologues featured Galina Angheluta, Anna Blair, Teresa Doggett, Paige Russell Elias, Carmen Garcia, Pam Reckamp, Gail Smith, Margeau Steinau, Sara Lin, Alderwoman Annie Rice, Christa Lou Cunningham, India Reid, Judi Mann, Talichia Noah, Jeanitta Perkins, Mariah Richardson, Grace Wilder, and Miss Leon (aka Dieta Pepsi). The directors were Rhonda Cropp, Joan Lipkin, Suki Peters, and Pam Reckamp, with technical direction by Michael Perkins.

Lisa Frumhoff, Debbie Blackwell, Rithia Brown, Angela Rey Guerrero, and Natalie Turner Jones provided a live drumming ensemble before and during the show. Although this play by Eve Ensler has been produced thousands of times and was named “probably the most important piece of political theatre of the last decade” by Charles Isherwood of the New York Times, it had not received a production by a professional company in over ten years in St Louis. “Some of the moments were joyful, some poignant, some heartbreaking, but all were vivid,” said theatre critic Gerry Kowarsky of Two on the Aisle. “The cast members made the 20 year-old script entirely their own, celebrating the existence of the play and the gains in openness of expression that have been made in the last two decades.” “That Uppity Theatre Company’s V-Day 2019 production of Eve Ensler’s The Vagina Monologues opened its arms to welcome a truly diverse cast of female and female-identifying performers,” said Tina Farmer for KDHX. “The casting, supported with strong direction by Rhonda Cropp, Joan Lipkin, Suki Peters and Pam Reckhamp, was cause for a celebratory mood, even if the pieces themselves were emotionally varied, ranging from heartbreaking to exuberant and from sensual to righteous and angry.” The play explores consensual and nonconsensual sexual experiences, body image, genital mutilation, direct and indirect encounters with reproduction, sex work, love, rape, menstruation, birth, orgasm, and many other topics. At the performances, audience members were encouraged to sign up for Pro-Choice Lobby Day which will be held by NARAL Pro-Choice Missouri on March 12 in Jefferson City to protest the myriad of anti-choice bills that have been introduced in the General Assembly since the beginning of the year. Sign up now for more information. “It was an honor to see two packed houses full of patrons supporting reproductive freedom via this fantastic production,” said Leah Boersig, NARAL Pro-Choice Missouri Board Chair. “Thank you to Joan Lipkin, That Uppity Theatre Company, The Kranzberg Arts Foundation, the volunteers, patrons, donors, and everyone else who worked to make this weekend such a success.” This production was part of the international V-Day movement started by Ensler, which this year runs February 1-March 8 and encompasses over 1,000 productions around the globe. The Vagina Monologues is the cornerstone of the V-Day movement, whose participants stage benefit performances of the show and/or host other related events in their communities. The remaining 10% of the proceeds, not only from this production but from every V-Day production worldwide, will go to Ensler’s Spotlight campaign.

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Two Local Girls to Play Lulu in “Waitress” at The Fox

The Tony nominated musical “Waitress,” which opens March 26, has cast two young area actresses to take on the role of “Lulu” during the St. Louis engagement.

Penelope Garcia, 5, of St. Louis, and Norah Morley, 5, of St. Louis will alternate the role of “Lulu,” the daughter of the production’s main character, Jenna.

WAITRESS tells the story of “Jenna”, an expert pie baker working at a local diner and stuck in a loveless marriage.  Her salvation comes in the form of her daughter, “Lulu.”

Both girls were chosen via an audition process held at The Fabulous Fox Theatre on February 11. Over 40 girls participated in the auditions, which were presided over by members of the WAITRESS company. The character of “Lulu” is cast locally in each tour market and two girls are chosen to share the role.  Each five-year-old girl chosen will perform in 8 performances each during the engagement.

Penelope attends Hope Montessori preschool, is involved in gymnastics and has always loved to create and perform by singing, dancing and drawing! She loves playing with her big brother Charlie and little sister Ruby, and taking care of her dog, Piney and pet chickens. Her role in WAITRESS will be her very first experience with acting. Penelope dreams of being a ballerina when she grows up.

Norah is a preschooler at St. Lucas Preschool in Sunset Hills. She loves to draw, dance, sing, and play. She and her two sisters dance at the Charmette Academy of Dance & Acrobatics. She has performed in the Lindbergh All-District Musical for the past two years. Norah said about the audition process, “It was really fun. I tried my hardest and the people I auditioned for were funny and nice.”

Brought to life by a groundbreaking all-female creative team, WAITRESS is an irresistible new hit featuring original music and lyrics by 6-time Grammy nominee Sara Bareilles (“Brave,” “Love Song”), a book by acclaimed screenwriter Jessie Nelson (“I Am Sam”) and direction by Tony Award winner Diane Paulus (Finding Neverland, Pippin, Hair).

Inspired by Adrienne Shelley’s beloved film, the musical tells the story of Jenna – a waitress and expert pie maker, Jenna dreams of a way out of her small town and loveless marriage.  A baking contest in a nearby county and the town’s new doctor may offer her a chance at a fresh start, while her fellow waitresses offer their own recipes for happiness.  But Jenna must summon the strength and courage to rebuild her own life.

“It’s an empowering musical of the highest order!” raves the Chicago Tribune.  “WAITRESS is a little slice of heaven!” says Entertainment Weekly and “a monumental contribution to Broadway!” according to Marie Claire.  Don’t miss this uplifting musical celebrating friendship, motherhood, and the magic of a well-made pie.

Tickets for WAITRESS at the Fabulous Fox are on sale now at MetroTix.com, by calling 314-534-1111 or in person at the Fabulous Fox Box Office. Ticket prices start at $29. Prices are subject to change; please refer to FabulousFox.com for current pricing. WAITRESS is part of the U.S. Bank Broadway series.

Performances of WAITRESS at the Fabulous Fox run March 26-April 7. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1p.m. There will also be a 6:30 p.m. evening performance on Sunday, March 31 and a matinee performance on Thursday, April 4 at 1 p.m.

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‘Who Are We and How Did We Get Here?’ Asks New Jewish Theatre in New Season Line-Up

‘Who Are We and How Did We Get Here?’ Asks New Jewish Theatre in New Season Line-Up

The New Jewish Theatre is proud to announce its 2019-2020 season, which opens in October. Artistic Director Edward Coffield introduced the lineup as an examination of identity that asks, “Who are we and how did we get here?”

The opening production honors the legacy of Neil Simon with his funny and sweet play, Brighton Beach Memoirs.

Next comes Fully Committed, a hilarious play and a complete tour de force, featuring forty wildly diverse characters played by one actor, NJT favorite, Will Bonfiglio.

Audiences will love the thought-provoking, beautiful play My Name is Asher Lev, adapted by Aaron Posner from the novel by acclaimed writer Chaim Potok. 

We are the Levinsons, by Wendy Kout, is a bittersweet, compelling story about parents and children, and people who come into our lives and change us. This will be only the second production of the play and a St. Louis premier.

The season closes with Stephen Sondheim’s Putting it Together, a witty and wonderful musical revue, featuring some of the greatest music written by the Broadway legend.

“I am thrilled to continue the tradition of theatre at the J. I think the plays and musical that comprise the 2019-20 season will engage and excite the community. In my brief time leading the New Jewish Theatre, I have learned that our audience loves the stories we share, and I know their lives are changed by that experience,” Coffield said.

The NJT performs at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146). Season subscriptions are priced at $205 – $210. Subscription packages are available as a classic five-show package or the very popular NJT Flex Pass, which allocates six passes to be used at the patron’s discretion.

Single tickets will be available in mid-August. Subscriptions will be on sale May 13, 2019 at the NJT Box Office, by calling 314-442-3283 or online at newjewishtheatre.org

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‘Rock of Ages’ – That Other (Dirtier, Louder, Hairier) ’80s Show

‘Rock of Ages’ – That Other (Dirtier, Louder, Hairier) ’80s Show

By CB AdamsContributing Writer

“Rock of Ages” showed up at The Fabulous Fox on its tenth anniversary tour for a three-day run starting March 1. In rock years, that’s…well, pushing 40 years since the soundtrack to our collective youthful heavy petting was transformed into a classic rock heavy rotation playlist.

In jukebox musical time, the two-hour performance shredded the space-time continuum with a party-like experience filled with big hair, bobbing head bobs and plenty of devil’s horns shoved defiantly skyward (by the actors and audience members alike).

There’s an apocryphal anecdote about Bob Dylan from way back in 1966. During a concert at the Royal Albert Hall, a heckler expressed his displeasure at Dylan having gone from acoustic to electric. Dylan reportedly advised the Hawks backing him up to “Play freakin’ loud (only he didn’t say “freakin’”). In an alternate universe, Nigel Tufnel of Spinal Tap fame would have been in the audience that night and taken Bob’s admonition to heart, and in turn counseled Stacee Jaxx and his band, Arsenal, to set the volume in “Rock of Ages” to Spinal Tap’s mythical “11.” A rock ‘n roll daisy chain dream, if ever there was one.

Photo: Jeremy Daniel“Rock of Ages” is the hit machine that keeps on giving. Not only did it earn five Tony Award nominations, including Best Musical, after it opened on Broadway in 2009, it has also been regularly rotated to St. Louis.

There’s no reason to think it won’t be back again, either (“Party on, Garth”). This show is just that much fun, in a “put another dime in the old jukebox, baby” sort of way, if you love – or love making good-natured fun of – the big haired, glammed-up, testosterone-y 80s rock, ala Whitesnake, Twisted Sister, Steve Perry, Foreigner, REO Speedwagon, Bon Jovi and other early-MTV dinosaurs.

One doesn’t see “Rock of Ages” for its trope-filled plot. You know, the one about girl leaves Kansas, meets boy (a wanna-be famous rock star) after being mugged upon arrival Los Angeles, gets a job at The Bourbon Room (a famous rock ‘n roll club), falls into puppy-ish love with boy, who also works at the club, loses boy after hilarious bathroom hook-up with Stacee Jaxx (a really famous rock star), loses her job at The Bourbon Room while the boy does too, reboots her career with new hooker hair and not-so-skillful pole dancing at a gentlemanly Venus Club while boy sells his rocker status for boy-band and/or pizza delivery lucre.

Photo: Jeremy DanielAnd that is just the sub-plot to the father-son Teutonic duo that threatens to demolish The Bourbon Room and its sleazy Sunset Strip brethren to make room for Reagan/Bush-inspired, just-say-no, “clean living” establishments. Of course, by the end, girl gets boy and lives happily ever after in the LA suburbs and The Bourbon Room lives on, along with all those evergreen heavy-metal hits.

What turns this silly plot, which has about as much depth as the philosophical ramifications of Quiet Riot’s “Cum on Feel the Noize,” into a jukebox hero is its combination of self-deprecating, double-down double entendres, meta awareness, pacing as rapid as a Nikki Sixx solo, and a continuously clever interweaving of story and song.

Tying all of these elements together at The Fabulous Fox was the narrator, Lonny, played by a commanding John-Michael Breen, who looked (appropriately)

The big-gunned Anthony Nuccio, as boy-interest Drew, proved more than up to challenge of big-belted songs like “I Wanna Rock” and “Oh Sherrie.” Katie Lamark as Sherri, the girl from Paola, Kansas, captured her character’s yin-yang of being starry-eyed (figuratively) and ball-busting (literally), especially on the songs “Harden My Heart” and “Shadows of the Night.”

Sam Harvey, making his national tour debut as Stacee Jaxx, was seamlessly slinky and sexy or just plain stupid and stoned, depending on the plot’s demands. 

“Here I Go Again,” which closed out the first act, was a performance highlight and obvious audience favorite. The song, with almost the entire cast joining in, exemplified the way “Rock of Ages” can improbably (and successfully) blend a “Glee”-worthy interpretation of a head-banging favorite with jazz hands and wink-wink humor.

To borrow a line from Dan Baird of Georgia Satellite fame, “Rock of Ages” is a love song (to the 80s) for the hearing impaired (i.e. the audience, after the show) with true “rock on” cred.

Photo: Jeremy DanielThe 10th anniversary national tour of ‘Rock of Ages” performed at the Fox Theatre from March 1 to March 3. For tickets, visit Metrotix.com or call 314-534-1111.

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Union Avenue Opera’s Outreach Efforts Will Showcase in March 10 Recital

Union Avenue Opera’s Outreach Efforts Will Showcase in March 10 Recital

Union Avenue Opera’s University Artist Outreach program, Crescendo, will present a free recital on Sunday, March 10, at 5 p.m. The recital is the culmination for participants in UAO’s Crescendo program, a free, hands-on, performance based training program developed to further the education of local artists still young in their careers as they prepare to join the St. Louis art community.

The recital is free and open to all ages. It will be held on the Union Avenue Opera stage at 733 North Union Blvd, St. Louis, MO 63108. This is a non-ticketed event. Doors open 4:30 p.m.

In the spring of 2014, Union Avenue Opera launched their new collegiate enrichment program called Crescendo.

Participants take part in a series of masterclasses and workshops presented by UAO’s esteemed professionals in anticipation of a public recital on March 10, where they will compete for $2,500 in scholarships and spots in UAO’s 2019 productions of Candide and La Boheme.

The program is open to all voice students currently enrolled in an undergraduate program within 60 miles of St. Louis, and offers a unique opportunity for young artists to work with their contemporaries while honing their craft.

To date, 72 students have completed the Crescendo program, some as many as 4 times! As a result, these young artists have appeared in over 65 roles in 7 operas as part of UAO’s Festival Season.  This year, 24 students from seven local music programs are participating in Crescendo.

Union Avenue Opera’s Crescendo is designed for the motivated student, to provide the opportunity to hone their craft while working with UAO’s esteemed professionals.

UAO believes St. Louis has a lot to offer singers and they want to reach out to local students and make their acquaintance. In addition, participants will compete for scholarships as well as paid positions in UAO’s 2019 productions of Bernstein’s Candide, Puccini’s La bohème, and Tom Cipullo’s Glory Denied.* 

Numerous participants of the Crescendo Program have gained employment opportunities  working behind the scenes at Union Avenue Opera. Students were hired to work in the box office, run supertitles, as well as perform in productions, all of which gave them insight to a career in the performing arts.

cutline: 2018 Recital Winners: SIUE’s Sarah Paitz recipient of the John J. Prcic Memorial Scholarship, SIUE’s David Fournie winner of the Jack and Betty Swanson Scholarship, Webster University’s Abby Benson winner of the John Lessor Scholarship, and Artistic Director Scott Schoonover. Kari Frey Photography.

Meet the 2019 Crescendo Staff

Program Coordinator – Debra Hillabrand

Christine Armistead, Director of Vocal Activities, Washington UniversityJon Garrett, Adjunct Professor, Staff Accompanist and Music Director, St. Louis University; Adjunct Professor of Voice, Staff Accompanist and Music Director, Lindenwood University, Adjunct Professor, St. Charles Community CollegeSandra Geary, Piano Faculty, Washington UniversityMartha Hart, Associate Professor of Voice, Webster UniversityEric KuhnStella Markou, Director of  Vocal Studies, University of Missouri-St. LouisNancy Mayo, Piano Faculty, Webster UniversityJennifer MedinaAlice Nelson, Director of the Webster Opera Studio, Webster UniversityAnna Pileggi, Professor of the Practice in Drama, Washington UniversityNoël Prince, Voice Faculty, Washington UniversityMarc Schapman, Director of SIUE Opera Theatre, Southern Illinois University EdwardsvilleScott Schoonover, Artistic Director and Founder, Union Avenue Opera Stephanie Tennill, Assistant Professor of Music, Saint Louis University

 

Questions?Email Program Coordinator, Debra Hillabrand, at crescendo@unionavenueopera.org

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‘La Cage Aux Folles’ Embraces Freedom — and Sparkle

‘La Cage Aux Folles’ Embraces Freedom — and Sparkle

By Lynn Venhaus
Managing Editor
There is a sparkle that emanates, not just because of the outward snazzy sequined
outfits and shimmery set in New Line Theatre’s “La Cage Aux Folles,” but also inward
from the all-male drag chorus, Les Cagelles. Their unbridled enthusiasm for a
show celebrating “Be Yourself” is obvious, and underneath their wigs and cosmetic
enhancements, it’s endearing.

In fact, one strongly feels the liberation of the drag chorus, supporting players and in the tour-de-force performance from Zachary Allen Farmer as the drag diva Zaza/Albin. That palpable sense of freedom is one of the production’s most enduring qualities.

Set in the 1980s on the French Riviera, Georges (Robert
Doyle) and Albin (Farmer) have lived as a married couple for years and work
together – Georges runs the nightclub downstairs and Albin is the star
performer Zaza. They have raised the now-grown Jean-Michel (Kevin Corpuz) as
their son since birth, in their own version of a loving nuclear family. Biologically,
he’s Georges’ son, born from a one-night dalliance with a woman who has chosen
not to be an integral factor in the boy’s life.

When Jean-Michel becomes engaged to Anne (Zora Vredeveld), her
ultra-conservative parents, politician dad Dindon (Kent Coffel) and mom (Mara
Bollini), are invited to dinner, prompting panic, for fear of exposing their ‘alternative’
lifestyle to disapproval, and ultimately, difficulties for Jean-Michel.

The ensuing melodrama and potential disasters are more akin
to an episode of “I Love Lucy” – and it’s all because of trying to hide who
they really are. But then, what the hell – dignity eventually reigns. In the
meantime, wackiness ensues for plenty of side-splitting laughs, with co-directors’
Scott Miller and Mike Dowdy-Windsor’s deft touch.

Focusing on characters who are loud, proud and know who they are is the hallmark of “La Cage Aux Folles” in all its art forms, from the hilarious 1973 French play by Jean Poiret, to the French film adaptation in 1978 to the Tony-winning Jerry Herman-Harvey Fierstein Broadway musical in 1983 to the American movie version in 1996 “The Birdcage” to the Tony-winning Broadway revivals in 2004 and 2010.

It’s not a new view, by any means. You would think by now,
people wouldn’t have to keep defending themselves, but homophobia still exists
in the most insidious and cruel ways in the 21st century. Therefore,
“La Cage Aux Folles” remains timely, and important, and most importantly, fun.

As always, “La Cage” boldly stands up to hypocrisy, ignorance and self-righteous prigs with sharp social commentary wrapped in light-hearted comedy and hummable music. This delectable confection as a crowd-pleaser is a brilliant offense, and Fierstein’s smart script is redolent with both zingers and heartfelt moments.

But this cast emphasizes it with their own perceptible
feeling of family, that intangible quality that sells the show, and underlined
by the confident directors.

Zora Vredeveld, Kevin Corpuz, Kent Coffel and Mara Bollini. Photo by Jill Ritter Lindberg.Farmer triumphantly leads this family in one of his finest performances. The actor, with multiple St. Louis Theater Circle nominations spanning seven years, has long since proven his versatility. He has been moving before – as the loner in “The Night of the Living Dead” and the slighted genius Leo Szilard in “Atomic,” and charming — the protective dad in “The Zombies of Penzance” and befuddled Sir Evelyn Oakleigh in “Anything Goes,” and comical as the iconoclast “Butkowski” and villain in “Celebration,” but the high-wire demands of Zaza/Albin go beyond the physical and present the biggest challenge.

Farmer is believable as this temperamental drama queen,
both in carriage and conviction. He looks fabulous, rocking the outfits – especially
that gorgeous lilac gown in the show-stopping “I Am What I Am,” notably after a
real-life 163-lb. weight loss. He projects effeminate airs, but not in a campy,
cartoonish way – they are organic to his character.

Because he isn’t merely window-dressing, Farmer’s transparency
showing the quicksilver mood swings — the hurt, the love and the defiance — ring
true. That makes him genuinely affecting as a transvestite man, while pushed to
the sidelines by convention, who refuses to be a cliché.

Robert Doyle and Zak Farmer. Photo by Jill Ritter Lindberg.Farmer is so sensational that perhaps Georges suffers in
comparison. As written, the part is in the parlance of a ‘straight man’ in a
comedy duo, and Robert Doyle is rather bland in the role, more in the shadow of
the very flamboyant characters. A few of the early songs seem a little shaky –
the duet “With You on My Arm” and “Song on the Sand,” but it could have been a
lower range issue on opening night. In the second act, “Look Over There” was
much more assertive.

The young engaged couple – Corpuz and Vredeveld – also are
secondary to the daffy proceedings because of the big personalities unleashed
here. They have a sweet dance interlude and competently convey their roles, but
really, the focus is pulled more towards the outrageous goings-on.

Tielere Cheatem as Jacob. Photo by Jill Ritter Lindberg.As the mercurial butler Jacob, Tielere Cheatem is dandy cavorting
in whirlwind prima donna mode. Strutting like a peacock, all attitude and
motion, Cheatem is a nimble laugh-riot making numerous scene-stealing entrances
in a procession of increasingly over-the-top outfits. His comic timing is
impressive.

When a pompous bigoted politician is set up for comeuppance, you know good humor will result, and the expressive Coffel milks it for laughs. And Bollini, as the snobbish wife and mother, is a good sport.

Both also play progressive restaurateurs M. and Madame
Renaud, and their “Masculinity” scene giving Albin tips on how to be macho is a
standout.

Lindsey Jones and Zak Farmer. Photo by Jill Ritter Lindberg.Lindsey Jones is used effectively as Jacqueline, a chic
restaurant owner whose place is the setting for some fireworks and several
terrific numbers – “La Cage aux Folles” and “The Best of Times.”

As previously mentioned, the spirited Les Cagelles are a
high point with their ebullience and energy — Jake Blonstein, Dominic
Dowdy-Windsor, Evan Fornachon, Tim Kaniecki, Clayton Humburg and Ian McCreary are
gleeful as real accomplished showmen.

Photo by Jill Ritter Lindberg.Fornachon, as the dominatrix Hanna, is quite comfortable
cracking a whip. A running gag is his ‘physical’ relationship with nightclub stage
manager Francis (Joel Hackbarth).

As a cohesive cast, it does not matter who’s really gay or
straight, all are convincing and display a commitment to their characters by
not relying on superficial stereotypes.

Behind the scenes are several unsung heroes – namely, stellar costume designer Sarah Porter, whose work is stunning. She also guided the make-up and wig applications with outstanding results.

Sara Rae Womack and Michelle Sauer choreographed the peppy musical numbers, moving Les Cagelles well in the provided space.

Nicolas Valdez’ work as music director is also exceptional –
he leads the Jerry Herman score with vitality, and the vocalists enunciate the
lyrics well. Herman, who crafted such iconic shows as “Hello, Dolly!” and “Mame,”
succeeded here with a traditional score but with a definitive light touch.

Valdez’ band – Kelly Austermann on reeds, Ron Foster on trumpet, Tom Hanson on trombone, Clancy Newell on percussion and Jake Sergos on bass – is a finely tuned ensemble that created a smooth, effortless flow of upbeat tempos and poignant ballads. They are hidden behind a scrim, which worked out well.

Next to the grand “I Am What I Am,” my favorite number was “The
Best of Times,” delivered crisply as a robust, sentimental tune summing up the
show’s poignancy – and a swell sing-a-long moment.

Rob Lippert’s colorful scenic design had plenty of pizzazz –
a functional combination of glitzy showplace and living quarters. And his
lighting design competently alternated between daylight and nightlife. Ryan Day’s
expert sound design is consistently good.

There is an obvious joy and compassion in this work, and because everyone involved is having such a good time, it carries over to the audience. After all, love is love is love is love.

None of us need permission to be who we are, but “La Cage Aux Folles” reminds us that we are all free to be you and me. And that’s mighty fine any time.

Photo by Jill Ritter LIndbergNew Line Theatre presents “La Cage Aux Folles” March 1 through March 23, Thursday through Saturdays at 8 p.m. at The Marcelle Theatre in the Grand Arts District. For tickets, visit Metrotix.com or call 314-534-1111. For more information, visit www.newlinetheatre.com

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‘Two to Tango’ – St. Louis Actors’ Studio Announces 13th Season

‘Two to Tango’ – St. Louis Actors’ Studio Announces 13th Season

With the sort of clarity and theatrical density that only the two-hander can achieve, the season of exclusively two-character plays will journey through our most closely complex relationships: Mentor and Apprentice; Husband and wife; Mothers and Child.

Our 2019-20 season:

“Fifty Words” by Michael Weller

Directed by Associate Artistic Director John Pierson

September 20 – October 6, 2019 

While their nine-year-old son is away for the night on his first sleepover, Adam and Jan have an evening alone together, their first in years. Adam’s attempt to seduce his wife before he leaves on business the next day begins a suspenseful nightlong roller-coaster ride of revelation, rancor, passion and humor that explores a modern-day marriage on the verge of either a breakup or deepening love and understanding.

“Mr. Weller is a bold and productive dramatist.” —NY Times. 

“The best thing about Weller’s play is that it offers no easy answers for making a relationship work. Its shades of gray are less than comforting but realistic as husband and wife struggle to describe and resolve their complex feelings for each other.” —International Herald Tribune.

 

“A Life in the Theatre” by David Mamet 

Directed by John Contini

December 6 – December 22, 2019 

 Starring Founder/Artistic Director William Roth and Spencer Sickmann (Farragut North, The Feast, LaBute Festival)

The Pulitzer Prize-winning author of “Glengarry Glen Ross” and “Speed-The-Plow” takes us into the lives of two actors: John, young and rising into the first flush of his success; and Robert, older, anxious, and beginning to wane. Their short, spare, and increasingly raw exchanges reveal the estrangement of youth from age and the wider, inevitable and endless cycle of life, in and out of the theatre.

“A comedy about the artifice of acting… It is also about the artifice of living… An evening of pure theatre.” – The New York Times

“A comic masterpiece.” – New York Daily News

“The warmest and often the funniest play in town.” – New York Post

“[Mamet has] the most acute ear for dialogue of any American writer since J.D. Salinger.” – Village Voiceb

“Annapurna” by Sharr White

Directed by Associate Artistic Director Annamaria Pileggi

February 14- March 1, 2020

After twenty years apart, Emma tracks Ulysses to a trailer park in the middle of nowhere for a final reckoning. What unfolds is a visceral and profound meditation on love and loss with the simplest of theatrical elements: two people in one room. A breathtaking story about the longevity of love.

“Sharr White’s ANNAPURNA is a comic and gripping duet…The closer [the characters] get to understanding what drove them apart, the more engrossed we become in watching them draw together.” —San Francisco Chronicle. 

“What if you had experienced the defining moment of your life—but couldn’t remember it? Sharr White’s remarkable two-person play ANNAPURNA…deals with just that dilemma, as well as other imponderables such as the vagaries of love and the philosophical clarity of impending death.” —LA Times.

 “…at the heart of each character is a lyricism that simply can’t be suffocated. Sharr White has created two fine and ferociously damaged people caught in the emotional whirlpool of not being able to live with or without each other.” —Huffington Post. 

“White’s poetry is endearing and quite lovely, and his dialogue is sharp, funny and consistently very honest…”—BroadwayWorld.com.

“Comfort” by Neil LaBute

Directed by Associate Artistic Director Annamaria Pileggi

April 17-May 3, 2020

A new play by STLAS friend and associate Neil LaBute in which a successful author and her son meet after some time apart and revisit their troubled relationship. What’s at stake? Whether or not the instinctive bond between mother and child can survive not just the past, but also two new book deals.

“Mr. LaBute is writing some of the freshest and most illuminating American dialogue to be heard anywhere these days.” —NY Times. 

“No contemporary writer has more astutely captured the brutality in everyday conversation and behavior: That kind of insight requires sensitivity and soul-searching.” —USA Today.

 “It is tight, tense and emotionally true, and it portrays characters who actually seem part of the world that the rest of us live in.” —Time. 

ABOUT ST. LOUIS ACTORS’ STUDIO St. Louis Actors’ Studio is one of the leading professional theatres in the St. Louis. area, producing a four-show season of plays at our 97-seat Gaslight Theatre. STLAS collaborates with renown director, screenwriter and playwright Neil LaBute to produce the LaBute New Theater Festival each July in St. Louis and each January in New York City. The festival is a one-act play competition for emerging professionals and high-school writers.

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