Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

By Lynn Venhaus

Why does contemplating personal accountability and public responsibility remain a potent topic these days?

Questions to ask ourselves, and the debate is put under a microscope in an outstanding example — New Jewish Theatre’s piercing, emotionally devastating production of “All My Sons.”

The illusions we live with – about families, neighbors, and success – results in an acting master class and impeccable direction.

A fascinating drama that showcases one of playwright Arthur Miller’s most explosive commentaries on the American Dream, director Gary Wayne Barker carefully calibrates the intensity while slowly peeling back the layers of gripping moral dilemmas.

In an ensemble full of revelatory performances, each actor brings fresh interpretations to a family – and their friends – unraveling because of secrets and lies. As we have discovered throughout history, it’s the cover-up that is so damaging – and with ripple effects because of an egregious swindle.

Seventy-seven years ago, “All My Sons” debuted on Broadway, and in many ways, is still relevant today. It was Miller’s first commercial hit and paved the way for his other epic commentaries on capitalism, American ‘exceptionalism,’ tangled loyalties, and the price for self-delusion, appearances, and power: “Death of a Salesman” in 1949, “A View from the Bridge” in 1955 and “The Price” in 1961, among them.

Miller based this on a true story, after reading a newspaper article about a similar incident.

Lintvedt, Johnston, Heil and Loui. Photo by Jon Gitchoff.

He has created vivid characters that live in an all-American neighborhood in an Ohio town in the late 1940s, where the locals would like you to believe that they’re living the high life in a setting not unlike a Norman Rockwell illustration.

And scenic designer C. Otis Sweezey was inspired by those popular Saturday Evening Post depictions of post-war prosperity.

The Kellers have been affected by World War II in several ways – their two sons, Chris and Larry served, but Chris (Jayson Heil) came home and works in the family-run munitions factory while Larry did not – he’s been missing in action for more than three years, and everyone but his mother Kate (Amy Loui) has given up on the likelihood that he is alive.

But more than that, military contracts were part of the family business, and selling defective parts has had serious repercussions.

Joe Keller (Greg Johnston) made a careless decision that came to light after faulty aircraft equipment was shipped overseas, resulting in 21 pilots’ deaths.

This misdeed, which he has rationalized and created an alternate reality about, sent his neighbor and partner Steve Deever to prison, while Joe was falsely exonerated, and his sentence commuted.

Still suppressing the secret that has upended their lives and torn apart the people around them, the Kellers are forced to deal with consequences. And a storm is coming, in that carefully cultivated backyard of theirs.

Rarely has a World War II story focused so harshly on disenchantment amidst the winning rah-rah attitude afterwards as incisive as Miller’s play.

Confronting their greed and delving into those expectations that wreak havoc in ordinary lives, supplies the actors with richly textured material.

Johnston, outstanding in last year’s “Uncle Vanya” at St. Louis Actors’ Studio and “The Nerd” at Moonstone Theatre Company (also directed by Barker), has never been better as the patriarch who rules with an iron fist.

In his big booming voice, Johnston, as Joe, boasts about reclaiming his life, thinking that nothing has changed, but everything has, and denial is his tragic flaw.

His son Chris is racked with guilt, and has invited his brother’s girlfriend, Ann Deever (Kristen Joy Lintvedt), to stay at their house. They’ve reconnected and fallen in love, keeping it hidden from his parents. Now, he’s ready to pop the question.

But it’s complicated. Not only was she Larry’s sweetheart, but Ann is the daughter of Joe’s business partner whom he blamed for shipping defective cylinder heads. Ann has not visited her father since he began his prison sentence and believes in his guilt.

Photo by Jon Gitchoff

While Joe was focused on making money and providing for his family, he basically put “America’s sons” in harm’s way through his dishonesty. What is that price worth and what communal responsibility do we have for the greater good?

Joe clings to his power, not believing he put freedom in jeopardy, but the fissures become significant. And this downfall, classic tragedy-style, is meticulously measured by a cast at the top of their game, directed with exceptional precision by Barker.

With a sure hand, Barker brings out the deceptions that everyone in this neighborhood lives with, flush with economic success. It is thoroughly compelling and thought-provoking as he shapes the momentum.

In his perceptive way, Miller delves into moral questions about protecting your family – even though others will be negatively affected, and the nature of being complicit in someone else’s crimes.

Kate, the grief-stricken mother, deludes herself that Larry will return, and finds solace in any reason to continue the fantasy – even astrology that a kind neighbor, Riley Capp as Frank Lubey, works on for her.

A razor-sharp Loui smoothly alternates a quick-silver range of emotions as she won’t admit the obvious and demonstrates how trauma has affected her – nervous and tormented by insomnia, headaches, nightmares. Loui goes beyond the dutiful wife and mother depiction to earn our sympathy – and pity.

Heil conveys Chris’ duty, honor and loyalty in a stunning, powerful performance that builds into an unavoidable catastrophe. Confused and uncertain, he shows both the internal and external struggles in a deeply felt, moving portrait that is a breakthrough role for him.

As the girl next door, Lintvedt is a standout as well. In a smaller but pivotal role, Joel Moses commands attention as Ann’s fuming brother George, a son desperately trying to exonerate his father as the fall guy.

He shows up, seething and full of rage, and stirs up a dark cloud, escalating Miller’s tightly constructed tension. The collateral damage will soon be extensive, and these performers deliver in gut-wrenching fashion.

Zahria Moore and Joshua Mayfield as the Baylisses. Photo by Jon Gitchoff.

The local doctor Jim Bayliss (Joshua Mayfield) is pleasant but growing more cynical in acclimating to social post-war life while his straight-shooting wife Sue (Zahria Moore), a nurse, has claws that come out in more contentious ways.

The cast also includes sunny Summer Baer as cheerful neighbor Lydia Lubey, who stayed there and has three kids, and 10-year-old Shane Rose in his debut as a local youngster, Bert.

 Michele Friedman Siler’s stellar vintage costume design captures the era in comfy casual attire, with George traveling more formally in suit, tie, and hat. Dennis Milam Bensie provided the wig design. Katie Orr’s props match the period as well. Amanda Werre’s sound design is exemplary, and Denisse Chavez’ lighting design provides interesting contrasts.

“All My Sons” grapples with split-second ethical decisions that are life-changing, and this latest New Jewish Theatre production is dramatically impactful and hard-hitting. It should not be missed.

New Jewish Theatre presents “All My Sons” from March 21 to April 7, with performances Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Individual tickets are $27- $58 and are available by phone at 314.442.3283 or online at newjewishtheatre.org.

In line with the difficult themes of war and readjustment to civilian life, the New Jewish Theatre has decided to partner with the Veteran’s Community Project for an exclusive post-show discussion following the March 31 matinee show. After the curtain closes, audience members will have the chance to learn about the work they are doing to provides high quality and well-developed strategic services that enable Veterans to meet the challenges of day-to-day living, resolve immediate crises, and move towards permanent stability.

Photo by Jon Gitchoff.

Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

By Lynn Venhaus

In an extraordinary, reimagined interpretation of Stephen Sondheim’s classic “Into the Woods,” New Jewish Theatre immerses us into a vibrant in-the-round setting, where a vocal-rich ensemble of 11 takes on iconic fairy tale characters.

The harmonies stand out under the seamless music direction of Larry D. Pry, who also serves as the Narrator and expertly plays the piano while Christopher Bachmann is on cello and Helen Bednara is on bassoon. While only three, the virtuosos are a superb combination that elevates this show’s rich melodies.

To say they understand Sondheim is no small feat. The greatest theater artist of the past 75 years is demanding, but everyone connected with this production is up for that daunting challenge. To be able to master his complex harmonies is like winning a gold medal in the Olympic Decathlon.

This 1986 masterpiece was Sondheim’s second collaboration with book writer James Lapine after “Sunday in the Park with George” two years earlier. They both won 1988 Tony Awards for score and book, even though “The Phantom of the Opera” took home the Best Musical prize. (But it later won 2002 Tony for Best Revival, 2011 Laurence Olivier Award for Best Revival and last year’s cast won a Grammy Award for Best Musical Theater Album.)

Photo by Jon Gitchoff

When done right, “Into the Woods” can be magical, transformative in many ways (as I experienced in the 2022 Broadway revival and a whimsical, inventive interpretation at Stray Dog Theatre last spring).

The fact that this musical continues to speak to new generations and evolves with new insights nearly three decades later is a testament to its relatable themes reflecting on humanity.

The concept is deceptively simple – a storybook world but with real-people problems, and how these characters’ lives are uprooted, teaching them valuable lessons about life, love, and listening. How they need to really be present when together – meaning it, not just saying so.

This poignant New Jewish Theatre effort focused on the emotional layers of each character, who are desperate for happily ever after but not making the effort to change their ways until confronted with reality.

Every time I see this show, I am struck by new observations and how the tale has deepened over time, but it is reinforced that I am not alone when people leave me halfway through the wood.

And this much is true — I always will be misty-eyed during a few numbers, “No One Is Alone” and “Children Will Listen” specifically, and in this show, “No More” especially resonated.

Here, the biggest takeaway is what comes after the “happily ever after” when you want so badly to have your wishes come true but realize you can’t do it alone.

Photo by Jon Gitchoff

The characters are based on Brothers Grimm and Charles Perrault’s literary works, but they are molded by the performers to convey consequences from their less-than-ideal actions and impulsive decisions. No Disney aberrations here. Director Robert Quinlan focused on the storytelling, and he doesn’t waste a moment – no dilly-dallying whatsoever.

The format: the narrator exclaims “Once upon a time,” and we’re off on an adventure with four groups of characters – Cinderella wishes to go to the king’s festival, Jack wishes his cow Milky White would give milk, a baker and his wife wish to have a child, and Little Red Ridinghood wishes for bread to bring to her grandmother.

Be careful what you wish for – and soon we’ll know about curses. A witch convinces the childless couple that if they bring her four ingredients: “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” – in three days’ time, she will reverse the infertility curse.

Thus commences a long and winding path through the woods.

It’s the largest musical ever staged in the intimate Wool Studio Theatre, but only 11 actors are playing the 20-plus characters, with a few puppets too. And with scenes taking place in and around the audience, characters are right in the mix.

Photo by Jon Gitchoff

The cast truly gets a workout, setting the scenes and popping in and out, often relying on quick costume changes. They are marvels in motion.

Phil Leveling is outstanding, and one of the MVPs – he smoothly switches into the Wolf, Mysterious Man and Cinderella’s Stepmother without missing a beat. Cinderella’s Prince Matt Billings is also puppeteer for Milky White, another fluid transition. He works well with Kevin Corpuz as Rapunzel’s Prince, and their full-bodied “Agony” duet is a highlight. The nimble Corpuz doubles as Lucinda, one of the stepsisters too.

Molly Wennstrom soars as the Baker’s Wife, a role she’s well-suited for, and “Moments in the Woods” is terrific. She and her scene partner, Kevin O’Brien as the Baker, are splendid together, especially in “It Takes Two.” O’Brien is a versatile musical theater performer, and not only are they both strong in song, but also have the emotional heft to depict their rocky relationship.

O’Brien and Leveling are also dynamic in “No More,” bringing considerable depth to their version.

Kristen Joy Lintvedt makes an impressive debut as Cinderella, delivering lush vocals and putting some oomph and a little edge into the role.

Aliyah Jacobs opts for a trusting Little Red and sweet-voiced Sarah Wilkinson exemplifies a girl trapped in a gilded cage as Rapunzel, and also has fun as Florinda. Matthew Cox is both an innocent, naïve Jack, and the more obnoxious Steward.

Matthew Cox as Jack. Photo by Jon Gitchoff

Sarah Gene Dowling plays the Witch robustly as cruel and condescending, unforgiving of anyone’s flaws – except her own. As bitter as she is, when she is rejected, and crestfallen, her “I was just trying to be a good mother” is said with transparent desperation.

Victoria Pines is cranky and intolerant as Jack’s Mother, not giving any hints of humor, which always helps the passive-aggressive dialogue be more palatable.

Nisi Sturgis lends her considerable talents as the booming voice of the Giant (well, Giantess).

The group vocals stand out. The grown-up tale needs performers to bring out the complexities confronting each character, for everyone changes. No one is left unscathed.

Quinlan has done a masterful job of keeping things briskly paced. He aims for the sweet spot in tone – hopeful in the first act and rueful in the second. Perhaps a bit more whimsy with the necessary dark undercurrent, but I think they were so focused on crisp movements and infusing sincere emotion into each song, that no one let up for a second. Choreographer Ellen Isom kept the moves playful.

NJT’s in-house costume designer, Michele Friedman Siler, adroitly outfitted every character to support both the storytelling and the fast changes that the in-the-round setting demanded.

C. Otis Sweeney’s scenic design is exceptional – and enhanced by Jayson Lawshee’s lighting design, and not just the trees were awe-inspiring, but that full moon too. Amanda Werre’s skilled sound design was effective in the atmospheric woodland sounds and also by indicating danger in giant footsteps — and punctuating dashed hopes and dreams, and broken hearts.

Since its Broadway opening in 1987, there have been productions in London’s West End, national tours, Hollywood Bowl, The Muny, three revivals and a 2014 film adaptation. This fresh New Jewish staging can stand as one of the most heartfelt in the region. The melodies linger, the performers enchant, and the themes are re-awakened, stored for safe-keeping in my memories.

New Jewish Theatre presents “Into the Woods” from Nov. 30 to Dec. 17 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Performances are Thursdays at 7:30 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. (Closing show on Dec. 17 has sold out).

Individual tickets are $27- $58 with special rates available for groups. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org

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Sarah Gene Dowling as The Witch. Photo by Jon Gitchoff
Photo by Jon Gitchoff

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

By Lynn Venhaus

Relevant and empowering, New Jewish Theatre’s “Gloria: A Life” celebrates one of the most inspiring women in history with a knockout performance by Jenni Ryan as feminist icon Gloria Steinem.

Ryan wasn’t initially cast as Steinem, but was announced as the replacement on May 27, a mere five days before opening night. Under intense pressure, not to mention a time crunch, Ryan admirably captures the essence of the leading lady, with gumption and authenticity.

Like others who have been called in at the last minute on productions, for the-show-must-go-on on opening night June 1, she did have a script with her, and nonchalantly glanced at it a few times, but without any awkward interruptions. She affected Steinem’s calmer demeanor while other females are venting on inequality.

Ryan was last seen at the J as the mom in “Broadway Bound” in January. This current turn is a real-life triumph when the show is highlighting women’s accomplishments. After all, Steinem refers to herself as a “Hope-aholic.”

Hope and drive permeate this work. And Ryan gets it – why Gloria matters, why this story is important, and why it is crucial that social activism continue in this current political climate.

Photo by Jon Gitchoff

But it’s not a one-woman show. Emily Mann’s play spotlights other remarkable activists who were catalysts for change in the workplace, the home, and politics in the late 20th century.

Mann, a veteran playwright and artistic director, enlisted Steinem’s participation and guidance for this play, which premiered in 2018.

Now 89 years old, Steinem’s legacy is a remarkable one, and this interpretation details how she used her voice to champion others, putting into practice her philosophy that conversations can prompt changes.

For those who weren’t alive during the rise of the women’s liberation movement in the 1960s and 1970s, this gives that time perspective and is a valuable history lesson. But the 90-minute play (without intermission) is not merely a look back at the discrimination and harassment women faced and how they found their voices in unity.

Rather, it is an urgent call to action for today’s pressing issues. Because struggles are ongoing – race relations, reproductive rights, gender equality, gun violence, patriarchy, #MeToo, other freedoms threatened and democracy in peril. (And that’s where the second act comes into play.)

During the first act of Gloria’s journey, a passionate ensemble embodies a revolutionary spirit, with six actresses playing various pioneers of an earlier era and key people in Gloria’s life.

Actress Sarah Gene Dowling is both gutsy Congresswoman Bella Abzug and Gloria’s broken mother Ruth; Kayla Ailee Bush is fiery Ms. Magazine co-founder Dorothy Pitman Hughes; and Lizi Watt is fierce Wilma Mankiller, first female chief of Cherokee Nation, among the prominent figures; and Chrissie Watkins, Summer Baer, and Carmen Cecilia Retzer take on multiple roles, wearing many hats (and scarves).

Civil rights attorney Florynce Kennedy is depicted, as are women wanting to make a difference. Nevertheless, there are some famous not-so-nice guys, people who aren’t fans, and other negative folks among the positivity.

As directed by Sharon Hunter in the J. Wool’s Studio Theater space configured in the round, the women swiftly move in and out, expressing themselves in discussion, fiery tirades, protests, sisterhood bonding, period music and dance. They reflect the conscience-raising efforts of those past decades.

Significant life touchstones mentioned include Steinem’s reporting days (of course the undercover Playboy Bunny magazine piece); co-founding the National Women’s Political Caucus in 1971 with Abzug, Betty Friedan, Shirley Chisholm, and others; co-founding the monthly Ms. Magazine in 1972; and the 1977 National Women’s Conference.

Gloria’s story portion concludes with the Women’s March in January 2017 in Washington D.C., where Steinem spoke to thousands of women wearing pink pussy hats.

Photo by Jon Gitchoff

A lively Dowling excels as “Battling Bella” – who was elected to the House of Representatives for New York City’s 19th district in 1970, and was a driving force in liberal political organizations, supporting the Equal Rights Amendment, a women’s credit-rights bill, abortion rights, and child-care legislation. (In 1974, women could finally get a loan without their father or husband co-signing it, thanks in part to Bella).

It’s also important to note that the cast and crew are all women. Scenic designer Fallon Podrazik kept the set simple for movement and interaction, costume designer Michele Friedman Siler assembled retro fashions representative of the times, while sound designer Amanda Werre created a mélange of important sound bites and familiar tunes, and there is distinct illumination from lighting designer Denisse Chavez.

Props master Katie Orr’s work was particularly demanding, replicating magazine articles and finding Ms. Magazine issues, not to mention making protest signs.

And there is a unique second act, a 20-minute interactive “talking circle,” that seeks audience participation in hopes of harnessing the energy of this production. Playwright Mann thought it was important to engage people and that these conversations could propel folks into action, pointing to Steinem’s mantra “the healing is in the telling.”

The ultimate goal is for people to learn from each other, and as Gloria has said: “This is the way we discover we’re not crazy and we’re not alone.”

Photo by Jon Gitchoff

At several performances, a local Guest Responder is launching the talking circle by sharing their own story of breaking barriers or simply responding to the play. For a complete list, visit: jccstl.com/njt-gloria-a-life.

The night I was there, State Senator Tracy McCreery led the conversation. One of the audience members pointed out that black women were at the forefront of the feminism movement, and that led to more reflections.

While it may seem that the needle hasn’t been moved that much in the past 10 years, I know that I stand on the shoulders of giants, and I am appreciative of the women who fought hard for the rights we now enjoy. After this viewing, I am optimistic, citing the words of “Hamilton”: “This is not a moment, it’s a movement.”

“Gloria: A Life” is certainly galvanizing, and the cast is enthusiastic about the stories they are sharing. It can fire up younger generations and spark renewed excitement by re-activating those Baby Boomers who recall the victories of the past. And Steinem is still fighting for human rights.

And this intimate look is another opportunity for those to marvel at how far we have come– although the work is unfinished. There are more trails to blaze and fires to put out. The play has something to say and the cast underlines it with vigor.

New Jewish Theatre presents “Gloria: A Life” from June 1 – 18, on Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre. For tickets, call 314-442-3283 or go online at newjewishtheatre.org.

Photo by Jon Gitchoff

Addendum: Some follow-up streaming programming:

  • “9to5: The Story of a Movement” is a 2021 documentary directed by Steven Bognar and Julia Reichert,” and currently streaming on Netflix. (It won the Joe Williams Documentary Award given by the St. Louis Film Critics Association. I was on that jury).

  • CNN miniseries “The Seventies” in 2015 – seventh episode is “Battle of the Sexes.” (Max)
  •  In a 2020 Amazon Prime original narrative film, “The Glorias,” Julie Taymor directed four different actresses to play Steinem at different stages of her life — Julianne Moore and Alicia Vikander as adults and Ryan Kiera Armstrong and Lulu Wilson as youngsters.
Photo by Jon Gitchoff

‘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.

Genial Cast Nimble in Simon’s Creaky ‘Barefoot in the Park’ at Moonstone

Genial Cast Nimble in Simon’s Creaky ‘Barefoot in the Park’ at Moonstone

By Lynn Venhaus

With its jaunty game-show music and kicky retro fashions, Moonstone Theatre Company’s staging of Neil Simon’s “Barefoot in the Park” is a throwback to amiable, innocuous 1960s-era sitcoms.

Only the Wayback Machine hasn’t been kind to Simon’s first major success in 1963, a fluffy lighthearted comedy about a couple with opposite personalities starting married life. They live in a fifth-floor walk-up apartment in Manhattan’s Greenwich Village, which becomes a running gag.

A smash hit that ran four years on Broadway, the breezy trifle was directed by Mike Nichols, garnered four Tony nominations and he won for directing. In 1967, the popular movie adaptation paired Robert Redford, the original Paul on stage, with Jane Fonda as the ditzy Corie, and the sublime Mildred Natwick recreated her scene-stealing timid mother role. The play went on to be a beloved staple of school, community, and dinner theater. It was a go-to during high school speech meets for duet-acting partners back in my day.

But that was then, and this is now.

Sixty years later, it’s flimsy rather than frothy — a period piece that probably wouldn’t make the cut for a 1960s-time capsule if selections were today, despite Simon’s hit-making machine status.

The antiquated attitudes on wives and mothers are hard to surmount – we’ve come a long way, baby. I suppose looking back at the pre-feminism years reinforces how times have changed. But engaging? Not so much.

The dialogue reflecting the time’s societal mores is sometimes cringy. Corie’s widowed mom advises: “Make him feel important. Give up a little of yourself. If you do that, you’ll have a happy and wonderful marriage — like two out of every 10 couples.”

Moonstone has set the show in 1966. The cast tries hard to toss off one-liners with some pizzazz but are hampered by how dated the wisecracks sound.

However, the cast gets the rhythm of Simon’s trademark patter, and the genial performers supply several bright spots because of their commitment to the characters.

Particularly funny are well-known veteran actors Chuck Brinkley, who plays the jovial telephone repairman – back when rotary dial was standard, and a Princess phone was fancy — and Bob Harvey, doing funny physical schtick as a huffing-and-puffing delivery man. Ever reliable, the old pros’ brief bits are amusing.

Appealing performers Luis Aguilar and Rhiannon Creighton convey the newlyweds and do what they can to enliven the creaky conversations, but the thinly drawn Mr. and Mrs. Bratter roles have never seemed so bland. They move in after a 6-day honeymoon, and all the character tics appear to aggravate.

This depiction, when the man was the breadwinner and the woman was the happy homemaker, is simply stale.

While cheery and sweet at times, bride Corie does come off as clingy, whiny, and shallow in other moments. Intended as an early image of Simon’s adored first wife Joan, Corie is not as interesting as screwball heroines of days gone by because there’s not much character development. She’s advertised as a ‘free spirit’ but seems tamer in retrospect.

Domestic bliss is threatened because she fears her fuddy-duddy lawyer husband, who is trying to concentrate on his job, will never be spontaneous, like she is. For instance, he wouldn’t walk barefoot in Central Park on a frigid winter day.

Luis Aguilar and Rhiannon Creighton. Photo by Jon Gitchoff

Faring better, although stuck in the tired stereotype of hovering suburban mom, is Jilanne Klaus as widowed Ethel. She’s in her 50s, an empty nester in New Jersey, and dull as dishwater. But she will soften and lighten up. Oh, the agism jokes! Let’s get the retirement home ready!

Corie’s perturbed that mom keeps sending wedding presents almost daily from Lord and Taylor. Oh, the horror.

The hijinks ramp up when Corie fixes up her uptight mother with the nutty neighbor Victor Velasco for a dinner double date. Starting off with exotic gourmet food and braggadocio, the eccentric Hungarian charms the ladies, but Paul immediately dislikes the international man of mystery.

And the night, fueled by assorted alcoholic beverages and dinner in Staten Island (offstage), gets wild and crazy – especially for the stick-in-the-mud mom and husband. But Corie and Victor are kindred spirits.

Slapstick-y wackiness ensues, and Aguilar deftly displays a flair for physical comedy. TJ Lancaster wisely decides not to go too over-the-top playing the live-wire lothario who lives in the attic. He and Klaus demonstrate they are smart, instinctual performers whose crisp comic timing and ease on stage is a plus.

Those two gave a master class in recalibrating their moves when the pair, mindful of a hump in the set’s area rug, acted nonplussed and went on with the show, careful where they stepped during Friday night’s third act.

When the inevitable blow-up occurs in act two – because Paul is a “watcher” and Corie is a “doer,” the couple’s bickering becomes tedious while we’re waiting for the happy-ever-after resolution. No suspense there. Although the fact they didn’t realize their differences before wouldn’t seem to bode well for the future (nevertheless, the Simons were married for 20 years until Joan’s death from cancer at age 41).

One of the most commercially successful playwrights of all-time, Simon, who started writing comedy sketches in the pioneering days of early television, made a career out of first world problems – only the world never really intruded into his work until the brilliant Eugene trilogy, starting with “Brighton Beach Memoirs.”

His customary white middle-class struggles were usually connected to relationship clashes, poking fun at human foibles and using self-deprecating humor, which frequently included Jewish characters in urban settings.

So, the pleasant bon mots and jokes on the squalor of a tiny big-city apartment are expected.

Only, the set isn’t so small. While acclaimed scenic designer Dunsi Dai’s work is a perfect palette of pastels reflecting the time, and his skylight is certainly a “Wow,” it’s too spacious for a supposedly cramped one-bedroom apartment. (If you have been in modest New York City apartments, you know, unless you assume they’re all like “Friends.”)

And the setting is not practical for stage movement, for Creighton must scamper quite a bit – it’s a good thing she’s energetic because we watch her take a lot of steps as she crisscrosses for unpacking, decorating and scene requirements. In a modern setting, she’d be killing it on Fitbit. Director Sharon Hunter’s blocking seems clunky because of the larger dimensions.

Patrick Sullivan’s striking lighting design capably illuminates the night sky, and Amanda Werre’s sound design is smooth.

Michele Siler’s costume designs are noteworthy, having ideally captured the period’s everyday apparel for the women, and Emily Fluchel nails the props – the suitcases, kitchen wares and knickknacks.

Despite it being Simon’s longest-running hit, this would be difficult to pull off in any 21st century theater because it feels synthetic. Nevertheless, the performers’ chemistry and nimble line delivery elicit laughs.

Like so many other plays that depend on a mundane premise to begin with, “Barefoot in the Park” is an unusual classic to present because of the shift in male-female dynamics. No amount of rejuvenation can resuscitate it, despite this likable ensemble and their earnest efforts.

Moonstone Theatre Company presents Neil Simon’s comedy “Barefoot in the Park” from Oct. 27 through Nov. 13 at the Kirkwood Performing Arts Center’s black box theatre, 210 E. Monroe Ave. Showtimes are Thursdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m., except there is no show on Friday, Nov. 11, and two shows on Saturday, Nov. 12, at 3 p.m. and 7:30 p.m. For tickets or for more information, visit: www.moonstonetheatrecompany.com.

Jilanne Klaus, Rhiannon Creighton, Luis Aguilar. Photo by Jon Gitchoff