Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

By Lynn Venhaus

With its energetic and appealing cast of six, and its earnest mission from a buzzy contemporary playwright, “Welcome to Arroyo’s” is a fine example of Tesseract Theatre Company’s commitment to fresh voices and perspectives.

It was written when the promising storyteller Kristoffer Diaz was in college but produced after his acclaimed 2009 play “The Elaborate Entrance of Chad Diety” was a finalist for the Pulitzer Prize for Drama. Diaz incorporated an American Dream theme in this dramatic comedy about the wrestler Macedonio Guerra, and it also won the Obie Award for Best New American Play in 2011.

Here, Diaz focuses on dreams, stressing community and touching on family, art, grief, loss, and his Latino culture.

Underscored with a lively hip-hop beat, “Welcome to Arroyo’s” is set on New York City’s Lower East Side in 2004. Victor Mendez portrays with conviction the industrious Alejandro Arroyo, whose dream is to convert the space where his late mother ran a bodega/deli for 20 years into a neighborhood bar/lounge that could become a cultural hot spot, but so far, not going so well.

The hard-working Al is at odds with his younger sister Amalia, aka Molly, who is full of anger and rebellion, and spray-paints graffiti outside the 7th precinct police station. Remi Mark conveys her character’s agitation and how mad at the world she is.

She courts trouble, he wants a better life. They are both dealing with the loss of their mother and will meet people who result in changes in direction for them.

Her unexpected love interest? Derek, a rookie police officer who recently moved to the area. He’s nice to her when she is mean to him, and Marshall Jennings is effective playing the concerned guy trying to understand her.

Al’s romantic attraction is to Lelly, a quirky college student tracing the history of a Puerto Rican woman that played a big part in hip-hop music. Could their mother have been one of its founders? Based on her research, Lelly seems to think that 20 years ago, she was the first female hip-hop DJ. Hannah de Oliveira brings out Lelly’s passion for her work.

Two DJs, Nelson and Trip, are Alejandro’s pals who hang out at the bar, and act as narrators sharing this fangirl theory, tying it all together. Kevin Corpuz (Nelson) and Jacob Schmidt (Trip) are the high-spirited rappers devoted to getting the party started, and they succeed in engaging audience members, who are eager to follow their direction. Corpuz’ enthusiasm is always contagious, and their contributions are easily the most relatable aspect of the show.

While heartfelt, Diaz’s play, however, seems incomplete, and the characters aren’t as developed as they could be for us to really care about them and be drawn into the scenario.

Nevertheless, director Brittanie Gunn worked well with an exuberant cast of four men and two women who give their all to pull us into the narrative. There is much goodwill here for what they are trying to accomplish with this show and the people involved.

The main problem with staging at the .Zack is its challenging acoustics, which have been problematic since it opened, some more pronounced than others. On the plus side, Corpuz and Schmidt have individual microphones, and Mark is loud as Molly, but de Oliveira is, at times, hard to hear as Lelly, although she is animated in her performance. Usually, in Tesseract’s previous shows staged there, it wasn’t an issue, but the uneven sound detracts.

Diaz appears destined to be a powerful presence in American theater. Besides writing plays, he is an academic – an associate arts professor at New York University’s Tisch School of the Arts and has worked in television.

Diaz went on to write the book for “Hercules,” the stage adaptation of the 1997 Disney film, with music by Alan Menken and lyrics by David Zippel, which was presented at The Public Theatre in 2019.

For television, Díaz adapted Jonathan Larson’s musical “Rent” into the 2019 live show on Fox and was the editor for Season 1 of “GLOW” on Netflix in 2017.

Tesseract gives this playful production a celebratory feel, and with its dedicated creatives, will likely continue its commitment to diverse talents and plays with something to say. And those are reasons to rejoice.

Tesseract Theatre Company presents “Welcome to Arroyo’s” April 28 – May 7, with performances on Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. at the .ZACK, 3224 Locust St., in Grand Center. For more information, visit the website: www.tesseracttheatre.com

This play contains adult language and themes.

Corpuz, Schmidt, Jennings
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SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE presents the Seventh Annual Aphra Behn Festival, May 5-7, 2023, at Fontbonne University. Performances are at 8:00 PM on Friday, May 5 and Saturday, May 6. Performance on Sunday, May 7 at 4:00 PM.

When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.

The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, Or, by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, The Rover, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. The Rover was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy.

This year’s list of ingredients for plays to be submitted in the 2023 Festival challenged the writers to re-tell, adapt, or respond to one of the plays on Hedgepig Theatre Ensemble’s Expand the Canon list (www.expandthecanon.com) SATE hosted readings of all three “Re-Told” plays on February 19, March 19, and April 30.

2023 Festival Plays

Bold Stroke for a Villain by Summer Baer
Directed by Emma Glose
Inspired by Hannah Cowley’s Bold Stroke for a Husband
Performed by Gabrielle Lynn, Jaelyn Hawkins, Greta Johnson
Welcome to purgatory! Victoria, condemned to an eternity of reflection, attempts to call into the void to someone she wronged but gets Elle Woulds instead.

Lieblingstante, by Aurora Behlke
Directed by Kayla Ailee Bush
Based off The Uncle by Princess Amalie of Saxony
Performed by Maida Dippel, Michael Pierce, and Leslie Wobbe
Julius introduces his girlfriend to his aunt Claudia. Who knows where the conversation may go after one or two (or four) glasses of wine.

reANIMA by Aly Kantor
Directed by Britney N. Daniels
A speculative subversion of Amelia Rosselli’s Anima
Performed by Keating and Taylor Kelly
Cricket totaled her meat vessel at a party—but not to worry! Her best friend has an industry hookup and made her a brand new one with all the bells and whistles she could ever want (and a few she’s slightly reluctant about). Now everything can get back to normal…right?

PRODUCTION ENSEMBLE
Stage Manager: Spencer Lawton
Costume Design: Liz Henning
Lighting Design: Michael Sullivan
Graphic Design: Dottie Quick
Photography: Joel Rumpell
Set/Props Design: Rachel Tibbetts, Ellie Schwetye
Sound Design: Emma Glose, Ellie Schwetye
Intimacy Coordinator: Rachel Tibbetts

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Spirited ‘Finale’ Excels At Examining Creative Process in WEPG’s Premiere

Spirited ‘Finale’ Excels At Examining Creative Process in WEPG’s Premiere

By Lynn Venhaus
Inspired by real 19th century artists, “Finale” examines the creative process of renowned Italian composer Gioachino Rossini with a nimble cast of four and jaunty, skillful writing.

West End Players Guild has produced its final play of the 111th season, and this comedy-drama is well-suited for their intimate theater space.

It’s also a feather in their cap, a world premiere written by Vladimir Zelevinsky, who is a playwright at home in the Union Avenue Christian Church basement, for this is his fourth play to be presented there.

For his previous WEPG works, he received a welcome reception and critical praise that garnered St Louis Theater Circle nominations, with “Manifest Destiny” in 2016 and “The Great Seduction” in 2018. His world premiere of “The Cricket on the Hearth” happened in December 2019, all directed by Steve Callahan.

Zelevinsky is also a research scientist based in Massachusetts and was in St. Louis to attend the inaugural performances last weekend.

While the play is fiction, it’s based on historical figures, and he obviously put in a lot of research into the characters: roguish “Jack” Rossini (Tim McWhirter), talented diva Isabella Colbran, his lover and later wife (Paula Stoff Dean), wealthy and anxious impresario Domenico Barbaia (Matt Anderson) and a coquettish muse Angel (Sadie Harvey), a likely composite of lovers vying for the outgoing genius’ attention.

Sadie Harvey, Paula Stoff Dean, Timothy McWhirter. Photo by John Lamb.

If you are not an operagoer, you are still likely to have heard of Rossini, who composed 39 operas, in addition to some chamber music, sacred music and piano pieces. His “The Barber of Seville” was a major success and his overture is legendary in his final piece, “William Tell.”

If you’re familiar with his work and life, you’ll understand the timelines and how impactful his creations were – among his accomplishments, he is credited with establishing the bel canto style of singing, using unusual rhythms, and effectively inserting crescendos. After he gained fame for his comic approach, he turned to more serious, dramatic fare, and those tones are reflected in the two acts.

“Finale” focuses on the popular Jack’s chaotic approach to deadlines, for as brilliant as Rossini was, he was notoriously lazy and insouciant. In the first act, as portrayed superbly – and pliant — by McWhirter, he’s ambitious and full of vigor, but in the second act, he’s disillusioned and dour, which is quite a departure after the jolly fun of Act I. There is a 15-minute intermission.

Act I is set in 1816 Rome, backstage at an opera, when Rossini was nearly 24 years old. Act II takes place 15 years later, in 1823, in a grand opera house in Paris. This time, at 39, it’s not procrastination troubling him, but how to handle the crossroads in his life. While no one knows for certain why, Rossini never composed another opera, and lived well until age 76. He loved to travel and entertain, and Zelevinsky drops names of his famous contemporaries and places he frequented to give us a sense of his place in history.

Photo by John Lamb

The second act’s noticeable shift of tone is a jolt but is based on the knowledge that Rossini ceased composing operas, which is puzzling to comprehend.

With Zelevinsky’s keen wit and penchant for detail, the spirited cast enlivens the first act much like a vintage screwball comedy. Their verbal dexterity and crisp comic timing make the snappy repartee a delight.  

After all, his comic operas were considered farcical fun, for his sitcom-like plots took lively twists and turns, and Callahan, an opera afficionado, mimics those wacky antics in crafting the physical comedy onstage and keeping the pace of the sprightly banter.

McWhirter’s hilarious nonchalance about writing pages so close to opening is contrasted by Anderson’s palpable exasperation over that unruffled demeanor.

In the second act, the supportive Barbaia has learned how to handle the prima donna, Bella is pragmatic about their marriage after distance separated them, and all the characters convey a more serious approach.

One of the show’s highlights is Dean showcasing her strong vocals, for she is an accomplished singer. Last summer, she played Desiree in Stray Dog Theatre’s “A Little Night Music.”

That’s an appreciated addition, for a show about music should give us a sample, at least.

Adding to the ambiance is scenic designer Ken Clark’s versions of two different houses hosting Rossini’s operas – one less opulent in Rome and the other more lavish in Paris. He has astutely serviced the action with furniture placement. Marjorie Williamson contributed graphic and scenic art.

Proficient costume designer Tracey Newcomb outfits the quartet in authentic-looking period pieces, with the women cavorting in petticoats for a good stretch, and lovely bright-colored gowns indicating stature.

Nathan Schroeder’s lighting design and Chuck Lavazzi’s sound design expertly provide smooth transitions for an effective overall production, with special mention to music advisor Caetlyn Van Buren.

Despite the abrupt change of moods between the first and second acts, the capable ensemble is pitch-perfect in depicting their characters. It’s often difficult to explore the inner workings of writers in a narrative, because the process is so internal, but Zelevinsky provides a reasonable backstory with good humor and interesting dialogue for a fitting “Finale.”

The West End Players Guild presents “Finale” April 28-30 and May 4-7, 8 p.m. Thursday through Saturday and 2 p.m. on Sunday at Union Avenue Christian Church, 733 Union Boulevard, St. Louis. For more information, visit www.westendplayers.org

Photo by John Lamb
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Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

By Lynn Venhaus

Equal parts salty, sweet, silly, sentimental, scary, and strange, this third chapter spotlighting freaky misfits saving the universe is a very busy mixed bag in “Guardians of the Galaxy Vol. 3.”

Legendary Star-Lord Peter Quill (Chris Pratt) leads his rag-tag team through life-and-death situations, all in superhero service of protecting good galactic folks under siege. This time, the High Evolutionary (Chukwudi Iwuji) wants to rule the universe by controlling all living things. Sure, it’s a lofty goal, but many obstacles are in the way, and inevitably, there will be an epic battle between good and evil. (We’re not allowed to divulge much)

The best part of these grandiose Marvel Cinematic Universe series is the chemistry of the superheroes, and having this motley crew back together one more time has deepened their ties, softened their tough exteriors, and created playful exchanges that enhance what is a dense and convoluted story.

Earth-born Peter Quill leads a rascally turbo-charged group that includes a hulking Drax the Destroyer (Dave Bautista, who is endearing as a gentle giant), intuitive Mantis (Pom Klementieff, lively as a smart and sweet says-it-like-it-is sentinel), intimidating Nebula (Karen Gillan, whose bark is worse than her bite), the versatile tree monster Groot (voice of Vin Diesel, who is able to morph into a number of effective sizes and shapes), and a sarcastic racoon named Rocket (voice of Bradley Cooper as a big-brained, no-nonsense warrior). Zoe Saldana returns as an alternate Gamora, which is better left unexplained (No spoilers from me).

Does anyone remember the plots other than bickering and banter between the Guardians, gnarly ginormous figures wreaking havoc, chaotic flights and fights through space, and clever needle drops that make characters shut up and dance?

This third outing is quite complicated: Rocket’s origin story, Ravagers show up with some key characters, and then a power-hungry maniacal villain called The High Evolutionary messes with species and is focused on wiping out civilization.

Merry band of misfits

The action, while often well-staged with choreographed slow-motion and quicksilver derring-do, has the usual repetitive litany of explosions, flying chunks of concrete, interstellar mayhem, and grotesque creatures to become mind-numbing. The film feels every bit of its 2 hours and 30 minutes run-time.

Director James Gunn, who co-wrote the script with his writing partners on the other two, Dan Abnett and Andy Lanning, has again stamped his devil-may-care attitude on this quirky comic book series, but also built up the found family theme

The elaborately designed spacecrafts and hub of activity known as the Knowhere outpost seem to layer on excessive visual effects.

The first Guardians of the Galaxy in 2014 was a breath of fresh air in the superhero realm, and the second one in 2017 capitalized on the original’s charm, laying on the kitchy pop culture. While Gunn retains his puckish sense of adventure, he has added more emotional beats this time around.

Newcomers include Will Poulter as Adam Warlock and Elizabeth Debicki as his mother Ayesha, characters introduced in the comics but not explained well here, and Maria Bakalova is the voice of the funny Cosmo the space dog. And Chukwudi Iwuji makes an impression as the flamboyant mad scientist who goes increasingly over the top.

For this final time, Pom Klementieff as Mantis and Dave Bautista as Drax are the standouts, creating a delightful comical dynamic.

But one of the bigger missteps is that this film is rated PG-13, for there are many elements that will frighten youngsters, especially about animals in cages.

The movie starts rather raggedy but ends with genuine emotional beats, and staying through the credits is a must. Also, it helps to be familiar with the other two.

When this overstuffed finale is hitting the right notes, it’s an earnest tug on the heartstrings, but because the story so often shifts tones and is stretched so thin – too many people! – overall, it’s frustrating.

“Guardians of the Galaxy Vol. 3” is a 2023: Sci-Fi, Fantasy, Action, Adventure film directed by James Gun and starring Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, Karen Gillan, Pom Klementieff, Sean Gunn, Chukwudi Iwuji, Will Poulter, Sean Gunn and Maria Bakalova
Rated PG-13 for intense sequences of violence and action, strong language, suggestive/drug references, and thematic elements and run time is 2 hours, 30 minutes. Opens in theaters May 5. Lynn’s Grade: C+

Will Poulter as Adam Warlock
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The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny has announced that Bryonha Marie, Mamie Parris, James T. Lane, Alan H. Green, Thom Sesma, Meredith Aleigha Wells, Madeleine Doherty, Katy Geraghty, Brandon Espinoza, F. Michael Haynie and Darron Hayes will star in the divine musical comedy Sister Act, August 14 – 20, 2023. The grand finale to The Muny’s 2023 Season will be directed and choreographed by Denis Jones, with associate choreographer Barry Busby and music direction by Sheilah V. Walker. Walker will also conduct.

“To head directly to the obvious, this cast is heaven,” said Muny Artistic Director and Executive Producer.  “We are so inspired that so many great talents will be creating our “Sister Act.”   Our prayers have indeed been answered.”

Bryonha Marie

BRYONHA MARIE (Deloris Van Cartier) Muny: The Sound of Music (Mother Abbess) and A Little Sondheim Music (Powell Hall). Broadway: Prince of Broadway, The Book of Mormon, After Midnight, The Gershwin’s Porgy and Bess, Ragtime. Off-Broadway/NY: Promenade (NY City Center Encores!), Candide (Carnegie Hall), NY Philharmonic’s Show Boat and Sweeney Todd (Beggar Woman), Ragtime (Lincoln Center). Tour: Falsettos. World premiere: Dave (Arena Stage, 2019 Helen Hayes nominee), Prince of Broadway (Tokyo Orb). A 2022 Jeff nominee for her performance in Life After, Bryonha has appeared regionally, most recently as Mrs. Lovett in the Signature Theatre production of Sweeney Todd, directed by Sarna Lapine, The Gershwin’s Porgy and Bess (ART), Ragtime (Kennedy Center), The Civil War (NETworks), Hair (Broadway Sacramento), Dreamgirls (Effie White, North Shore), Little Shop of Horrors (Berkshire Theatre Group) and many more. TV: The SpongeBob Musical: Live on Stage!; Madam Secretary, Show Boat and Sweeney Todd (Live from Lincoln Center).

MAMIE PARRIS (Mother Superior) Muny: Paint Your Wagon (Cayla Woodling), Hello, Dolly! (Irene Molloy) and Joseph… Dreamcoat (Narrator). On Broadway, Mamie is perhaps best known for her iconic rendition of Memory from the recent revival of Cats. Other Broadway: School of Rock, Ragtime, The Drowsy Chaperone, On The 20th Century and 110 in the Shade. Off-Broadway: Anything Can Happen in The Theater (plus cast album), Pump Boys and Dinettes (Prudie). Tours: Wicked (Elphaba), 9 to 5 (Judy), Legally Blonde. Regional: Paper Mill Playhouse, Arena Stage, The Old Globe, Goodspeed, Pittsburgh CLO and more. Film/TV: A Standup Guy, State of Affairs, The Blacklist and The PBS Great Performances 50th Anniversary special. Audiobook narrator and lauded symphony soloist.

JAMES T. LANE (Eddie Souther) is from Philadelphia. Muny: Chicago (Billy Flynn), Disney’s The Little Mermaid (Sebastian). West End: The Scottsboro Boys, A Chorus Line. Broadway: Chicago (Billy Flynn), Kiss Me, Kate (Paul), King Kong, The Scottsboro Boys (Ozie Powell/Ruby Bates), A Chorus Line (Richie Walters). National tours: Ain’t Too Proud – The Life and Times of The Temptations (Paul Williams), Jersey Boys. Regional: Guys and Dolls (Nicely-Nicely Johnson), Mary Poppins (Bert), The Wiz (Tin Man) and more. Lane also created and performed in Triple Threat, a “play that moves and sings.”

Alan H. Green

ALAN H. GREEN (Curtis Jackson) Broadway: Charlie and the Chocolate Factory, School of Rock, Sister Act and Play On! Original Cast Albums include his Broadway shows as well as Broadway Bounty Hunter, Freaky Friday and Carols for a Cure. First national tours: 25th Annual Putnam County Spelling Bee, Swing!; Smokey Joe’s Cafe. International: Miss Saigon (sung in German). Recent Regional: The Griswold’s Broadway Vacation (5th Avenue Theatre), The Karate Kid (Stages St. Louis), A.D. 16 (Olney Theatre). TV: Almost Family, Unforgettable, Murphy Brown, 30 Rock, Peter Pan Live!; Law & Order: SVU; Guiding Light and lots of national commercials. Awards: Outstanding Lead Actor in a Musical (Berkie), Best Performer in a Streamed Musical (BroadwayWorld). BA in Vocal Performance from Rice University. Board Member and Associate Artist at Barrington Stage Company.

THOM SESMA (Monsignor O’Hara) made his Muny debut in 2013 as Jafar in Disney’s Aladdin. He has numerous credits at Repertory Theatre of St. Louis, where he appeared in Sweeney Todd, A Little Night Music, Dinner with Friends and where he directed Life (x) 3. Elsewhere, he was most recently seen in Oliver! (New York City Center Encores!), followed by the world premiere production of Madeline Myers’ Double Helix (Bay Street Theatre, Sag Harbor, NY). Other recent New York credits include A Man of No Importance (Classic Stage Company), Letters of Suresh (Second Stage, Lortel Award nomination), Unknown Soldier (Playwrights Horizons) and Ghosts (Williamstown/Seattle Rep). Broadway/National tour credits include: The Times They Are A-Changin’; Disney’s The Lion King, Titanic, Miss Saigon, Man of La Mancha, Search and Destroy, Nick & Nora. Select TV credits: Instinct, The Good Wife, Madam Secretary, Gotham, Jessica Jones.

MEREDITH ALEIGHA WELLS (Sister Mary Robert) made their national tour debut in Dr. Seuss’ How the Grinch Stole Christmas!, marking the first performance in a Broadway national tour by a wheelchair user. They have also toured their original one-person musical Dysfunctioning Just Fine (Purple Skies Playwright Award) across the northeast. Off-Broadway: Various readings with New York Theatre Workshop. Regional: Teenage Dick (Buck, Seattle Rep), Disney’s The Little Mermaid (Atina, Music Theater Works), Blue Roses (Laura Wingfield, Rec Room Arts), Shrek (Ugly Duckling, Beck Center) and Cleveland Public Theatre. Other appearances include Dance St. Louis, CounterBalance, OhioDance Festival, Boston’s Symphony Hall, Playhouse Square, Ailey Citigroup Theater, The Macy’s Thanksgiving Day Parade, and the Luminous Festival in Beijing, China. In 2020, Meredith started their newsletter, Message in a Bottle, where they continue to spread chronic illness awareness and help others through sharing their experience as a queer disabled performer.

MADELEINE DOHERTY (Sister Mary Lazarus) Broadway: Les Misérables (Ensemble, u/s Madame Thenardier, dance captain), A Christmas Carol (Char Woman, original cast), The Producers (Hold Me Touch Me, original cast), Sister Act (Sister Mary Teresa, original cast), Gigi (u/s Mamita/Alicia, original cast/revival), Charlie and The Chocolate Factory (Grandma Georgina, original cast). Off-Broadway: Romance, Romance (original cast), A Time for Singing (York Theatre). Six national tours, over 50 regional theatres, one son, one grandson, four step-kids, five step-grandkids, one dog and three unions.

Katy Geraghty

KATY GERAGHTY (Sister Mary Patrick) was most recently seen as Little Red in Into the Woods on Broadway as well as the national tour. Other Broadway credits include the original cast of Groundhog Day, as well as the pre-Broadway run of & Juliet in Toronto. Select Regional: Hairspray (Tracy Turnblad), Bliss (Princess Carmella, world premiere, 5th Avenue), Shrek (Gingy). TV: Modern Love and Sing It On.

BRANDON ESPINOZA (Pablo) Muny: Grease (Danny Zuko, Director/Choreographer: Denis Jones). Broadway: SpongeBob SquarePants, Tuck Everlasting, Gypsy, Big, Les Misérables, The Will Rogers Follies. Off-Broadway: The Visitor (Public Theater), Substitution (Playwrights Realm), Scarcity (Atlantic Theater Company), Tea and Sympathy (Keen Company), Captains Courageous (Manhattan Theater Club; Drama League honoree/nominee). Regional: The Rembrandt (TheaterWorks Hartford), Anna in the Tropics (Director/Playwright: Nilo Cruz, Miami New Drama, 20th anniversary production), On Your Feet! (Paper Mill Playhouse), The Way of the World (Director/Playwright: Theresa Rebeck; Folger Theatre), A View from the Bridge (Director: Ivo van Hove; Goodman Theatre). Current TV: Power Book III: Raising Kanan (Detective Garcia, Starz). Other TV: The Blacklist (NBC), Law & Order: Organized Crime (NBC), The Equalizer (CBS), FBI (CBS), The Leftovers (HBO), The Following (Fox), The Mysteries of Laura (NBC), The Carrie Diaries (CW).

F. MICHAEL HAYNIE (Joey) most recently starred as Olaf in the North American Tour of Frozen. Broadway: Wicked, Charlie and the Chocolate Factory, Holler If Ya Hear Me. Off-Broadway: Carrie (MCC), Dogfight (Second Stage) and others. Regional: Quasimodo in The Hunchback of Notre Dame (Ogunquit), Found (PTC) and more. TV/Film: Jesus Christ Superstar Live in Concert (NBC), Peter Pan LIVE! (NBC), Not Fade Away (Paramount).

DARRON HAYES (TJ) Muny: Joseph and the Amazing Technicolor Dreamcoat. He recently returned home to the states after playing Pharus in the Australian Premiere of Choir Boy. Australian Theatre: The National Theatre of Parramatta. Off-Broadway/New York: The Gospel According to Heather, Notes from Now, Love Around the Block. Regional: Asolo Repertory Theatre, Music Theatre Wichita, Two River Theater, New London Barn Playhouse, and JAG Productions where he premiered in the first ever all-Black Production of Next to Normal. University of North Carolina School of the Arts 2017. Penn State Musical Theatre 2021.

About the show:

Based on the smash hit film, Sister Act is a heavenly musical comedy that proves nothing can stand in the way of sisterhood! Disco diva Deloris dreams of fame and fortune, but is she prepared for the way she receives it? Songs inspired by Motown, soul and disco, including “Take Me to Heaven,” “Fabulous, Baby!” and “Raise Your Voice,” this score is sure to raise your spirits. The grand finale to the Muny season promises to be divine!

Music by Alan Menken, Lyrics by Glenn Slater, Book by Cheri Steinkellner & Bill Steinkellner, Additional Book Material by Douglas Carter Beane. Based on the Touchstone Pictures Motion Picture, Sister Act, written by Joseph Howard.

The Telsey Office is the official casting partner for The Muny. Full casting and design team will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

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Baseball Historian Ed Wheatley Releases Book on STL Cardinals

Baseball Historian Ed Wheatley Releases Book on STL Cardinals

The new book St. Louis Cardinals: Everything You Need to Know! offers a unique approach to telling the story of Cardinals baseball for fans young and old.

Hundreds of vivid photos and accompanying vignettes allow readers to experience the players, teams, and special moments of one of baseball’s greatest franchises. Within these pages, readers will find the love and joy that fans call “Cardinal baseball.” Relive the 19 pennants, the 11 World Series Championships, and all the special moments in-between.

Which Redbird players were the best at each position and which ones made it to the Hall of Fame? Can you name their lone Triple Crown winner or the team’s MVPs? What are the “Perfectos” and who’s in the “Gashouse Gang?” It’s a story over 140 years in the making that will simply make Redbird fans of all ages “Go Crazy” for Cardinal baseball! 

St. Louis author and baseball historian Ed Wheatley covers this storied franchise with an illustrated collection of highlights from the 1800s to today. Look back at your favorite Cardinals moments or discover things you never knew in St. Louis Cardinals: Everything You Need to Know!

Book Signings:

Saturday, May 20 at 11 a.m.
Main Street Books
307 S. Main Street in St. Charles, MO

Monday, June 5 at 6 p.m.
Scenic Regional Library
111 Lamar Parkway in Pacific, MO

Mike Shannon
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Midnight Company to Present ‘The Absolute Brightness of Leonard Pelkey’ May 4-20

Midnight Company to Present ‘The Absolute Brightness of Leonard Pelkey’ May 4-20

The Midnight Company will present the solo show THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY, by Celeste Lecesne.  May 4-20 at The Kranzberg Black Box Theatre.  Performances are Thursdays, Fridays and Saturdays at 8pm.  Tickets ($25 for Friday/Saturday and $20 for Thursday) will go on sale April 10 at MetroTix.com.  Alicen Moser directs.

Joe Hanrahan, Midnight’s Artistic Director, portrays a detective and other characters in a small New Jersey town as he unravels the story of Leonard Pelkey, a tenaciously optimistic and flamboyant fourteen-year-old boy who goes missing.  A luminous force of nature whose magic is only truly felt once he is gone, Leonard becomes an unexpected inspiration as the town’s citizens question how they live, who they love, and what they leave behind.

Celeste (formerly James) Lecesne has written several books, including the novel ABSOLUTE BRIGHTNESS, which gave birth to the play, as well as the play and book, WORD OF MOUTH, which gave birth to the short film, TREVOR.

The New York Times said ABSOLUTE BRIGHTNESS “…leaves you beaming with joy…a superlative solo show…Mr. Lecesne is a writer of wit and great observational skills, who here unfolds a dark tale that shimmers with needling suspense you associate with best police procedurals…Perhaps most remarkably, he’s the rare artist who doesn’t shy away from sentimentality…you may find yourself choking back a tear or two.”

The New York Post called the show “…moving…Lecesne delivers a message of acceptance without being preachy.  Intimate and affectionate, ABSOLUTE BRIGHTNESS is about the difference one person can make-and perhaps, with any luck, one show.”

And the Los Angeles Times said ABSOLUTE BRIGHTNESS “…shines with humanity…an affecting and entertaining testament to the beauty of a world in which difference is celebrated rather than denigrated.”

Joe Hanrahan as Detective Chuck DeSoto, photo by Todd Davis

Hanrahan has performed a number of solo shows, including several each by Eric Bogosian, Conor McPherson, Will Eno and Daniel MacIvor, as well as portraying Harry Truman in GIVE ‘EM HELL HARRY and in his own script, the Theatre Circle nominated NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND.  His play about Linda Ronstadt, JUST ONE LOOK, continues with extended performances this April at The Blue Strawberry, and coming in 2023, he will direct THE YEARS in July, write/direct the Judy Garland show YOU MADE ME LOVE YOU at The Blue Strawberry in late July, co-adapt and direct HUMANS OF ST. LOUIS from the book at The St. Louis Fringe in August, and perform in THE LION IN WINTER in October.

Director Alicen Moser is one of the artistic leaders of the theatre group, Poor Monsters, and she’s performed as an actress for many St. Louis groups, including Midnight when she appeared as George Harrison in Hanrahan’s Beatle play, THE EVEREST GAME, at the 2017 St. Louis Fringe Festival.

Linda Menard will stage manage, Tony Anselmo will design the lighting, and Kevin Bowman provides production support.

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In 1995, Celeste Lecesne wrote the screenplay for the short film, TREVOR, which won the Academy Award for Best Live Action Short Film.  Inspired by that film, in 1998 Lecesne co-founded and launched The Trevor Project, the first nationwide 24-hour crisis intervention lifeline for lesbian, gay, bisexual, transgender and questioning youth, including phone, in-person and additional online life-affirming resources.  If someone you might know is feeling helpless or suicidal, trained crisis counselors are available 24/7 at 1-866-488-7386, or by texting 678678.  More information is available at thetrevorproject.org.
The Midnight Company will be working to spread the awareness of The Trevor Project during the run of THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY.
More at MidnightCompany.com

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‘Gloria: A Life’ Comes to the New Jewish Theatre June 1-18

‘Gloria: A Life’ Comes to the New Jewish Theatre June 1-18

The New Jewish Theatre will perform Gloria: A Life at the Wool Studio Theatre from June 1 to June 18. Written by acclaimed playwright Emily Mann, with guidance and participation from Gloria Steinem herself, Gloria: A Life explores the iconic feminist’s legacy. Decades after Gloria Steinem began raising her voice for equality and championing the voices of others, her vision is as urgent as ever. This play embodies Steinem’s philosophy that conversation is a catalyst for change as it celebrates one of the most inspiring women of our time.

Sharon Hunter, the director, says she is honored to lead the production. “As our country continues to struggle with painful questions about race relations, reproductive rights and gender equality, Gloria’s leadership continues to inspire many to take up this quest for freedom,” Hunter said. “My hope is that our production will encourage men and women to rally their collective voices and carry on her work.”

In a unique and interactive take, Act II of this play is actually a “talking circle.” After telling Gloria’s story in Act I, the actors will begin a discussion. At several performances, a local “Guest Responder” will launch the talking circle by sharing their own story of breaking barriers or simply responding to the play. This gives an opportunity for the audience to learn from each other, as, according to Gloria this “is the way we discover we’re not crazy and we’re not alone.”

The New Jewish Theatre’s cast and crew will consist entirely of women. Led by director Hunter, this team includes Fallon Podrazik (Scenic Design), Michele Friedman Siler (Costume), Denisse Chavez (Lighting Design), Amanda Werre (Sound Design) and Katie Orr (Props).

Kirsten De Broux, returning to the New Jewish Theatre stage after appearing in 2022’s Laughter of the 23rd Floor, will lead as Gloria Steinem. She is joined by an ensemble of six actors:  Kayla Ailee Bush, Sarah Gene Dowling, Chrissie Watkins, Lizi Watt, Summer Baer (Brighton Beach Memoirs, 2019), and Carmen Cecilia Retzer. They play a wide variety of roles, including fellow activists and icons Flo Kennedy, Dorothy Pitman Hughes, Bella Abzug, Wilma Mankiller, and many more.

“I am thrilled to bring an all-female cast and creative team together for Gloria: A Life,” says Artistic Director of the New Jewish Theatre, Rebekah Scallet. “This play celebrates pioneering women fighting for equality in the workplace, the home, and the political arena, as well as to have control over their own bodies. The world of theatre is still very much male-dominated, especially in the fields of scenic, lighting, and sound design, so it’s wonderful to have this amazing group of talented women collaborating to tell this important story.”

Don’t miss Gloria: A Life at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146), running June 1 to June 18. 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.

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ABOUT THE NEW JEWISH THEATRE:

The New Jewish Theatre is dedicated to exploring Jewish themes and celebrating Jewish writers while examining the full range of the human experience. We present universal work through a Jewish lens, using our productions to enrich lives, promote inclusivity, and build community.

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‘Peter Pan and Wendy’ Disappoints as Grittier Disney Live Action Remake

‘Peter Pan and Wendy’ Disappoints as Grittier Disney Live Action Remake

By Lynn Venhaus

Another disappointment among Disney’s increasingly lackluster live action reboots of their classic animated films, “Peter Pan and Wendy” lacks imagination in its re-imagining.

Based on J.M. Barrie’s 1904 play/novels and Disney’s 1953 animated movie, this latest version is about Wendy Darling (Ever Anderson) meeting Peter Pan (Alexander Molony), a mischievous boy who refuses to grow up. Along with her brothers John and Michael (Joshua Pickering, Jacobi Jupe), she travels to Neverland with Peter and a tiny fairy, Tinker Bell (Yara Shahidi). There, she encounters an evil pirate, Captain Hook (Jude Law) and other dangers.

Those looking for a nostalgic experience, recalling favorite versions, may wonder what’s the point of a grittier straight-to-streaming film after watching the live theatrical versions on TV, on stage, on ice, in cartoons, and countless movies from a silent era one to a 2003 Australian remake, with “Hook” sequel (1991), “Pan” (2015), “Wendy” (2020), and even the comedic spin in “Chip ‘n Dale: Rescue Rangers” (with Will Arnett as “Sweet Pete”) in the canon.

With so many different takes on “Peter Pan” already, did we need another revision? I am not sure who this film is really for, who is the targeted demographic?

Still set in Edwardian England, director David Lowery, who co-wrote the screenplay with Toby Halbrooks, has refreshed the cast with diverse characters, including girls added to the “Lost Boys” and an empowered Wendy, a welcome contemporary upgrade. They have omitted troubling language and those awful Native American stereotypes from the Disney animated film.

Jude Law as Captain Hook

However, the story is a puzzling mix of plot origins, new unnecessary backstories and deleting character traits and motivations. For instance, Tink is no longer jealous of Wendy, Captain Hook has something to do with Peter’s past, and Mr. Darling is not the same actor playing the captain either.

Disney regular Alan Tudyk is the stuffy dad while Jude Law is the unpleasant ill-tempered Captain, devoid of swagger, less campy rogue. He comes across as a sociopath who preys on children, not as a buffoon. It’s a curious portrait.

Lowery, known for his distinct character studies on human frailties (including “A Ghost Story,” “The Green Knight” and Robert Redford’s last film “The Old Man and the Gun”), remade “Pete’s Dragon” into a live action version in 2016, but otherwise would not be a first choice to insert whimsy into a fantasy adventure.

Despite the spectacular visual effect of turning Captain Hook’s pirate ship around in mid-air, using Tinkerbell’s pixie dust, the movie is woefully short on magic. The massive crocodile’s CGI terror reign is dialed to 11 and may scare young viewers.

The use of the Faroe Islands as Neverland is interesting, and there’s plenty of craggy rocks to explore, with Tiger Lily galloping on her horse for more natural interactions.

Yari Shahidi as Tinkerbell

It starts promisingly, for Wendy doesn’t want to go to boarding school and is having fun with swordplay with her two younger brothers, and they are swept away far from the comforts of home.

But the movie fumbles in trying to keep that momentum going, bogged down in realistic, anxiety-producing predicaments. Even comedian Jim Gaffigan as Smee can’t liven the proceedings.

Surprisingly, Peter Pan himself is a far less appealing character than usual, with not so much energetic bravado, but sulkier. (And really, is arrested development all that attractive?) Alexander Molony is the leader of the Lost Boys, his inexperience as an actor evident.

Wendy is far spunkier. As played by Ever Anderson, the mini-me daughter of actress Milla Jovovich, she is assertive and plucky, and not going to let the boys have all the fun.

The females fare better than the guys, for Yara Shahidi is a sparkling fairy as make-things-happen Tinkerbell, and Alyssa Wapanatâhk is a feisty Tiger Lily.

Inevitably anchored to the origin story, “Peter Pan and Wendy” doesn’t break from the mold in a satisfying way, and fails to maintain interest through its 1 hour, 46 minutes run time.

“Peter Pan and Wendy” is a 2023 fantasy-adventure directed by David Lowery and starring: Jude Law, Alexander Molony, Ever Anderson, Yara Shahidi and Jim Gaffigan. It is rated PG for violence, peril, and thematic elements and the runtime is 1 hour, 46 minutes. It began streaming on Disney Plus on April 28. Lynn’s Grade: C-

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