New Jewish Theatre’s Bright and Funny ‘The Heidi Chronicles’ Engages with Vibrant Performances

New Jewish Theatre’s Bright and Funny ‘The Heidi Chronicles’ Engages with Vibrant Performances

By Lynn Venhaus

OK, Boomers. Does “The Heidi Chronicles” retain its bittersweet ‘voice of a generation’ 37 years after its laudable premiere in 1988?

Yes, it does in New Jewish Theatre’s persuasive production now playing through June 15. One woman’s coming-of-age story and her realization of self-worth still hits home.

Under Ellie Schwetye’s perceptive, poignant direction, an exemplary cast breathes life into these well-defined characters with warmth, wit and understanding. They are as resolute as the director and creative team in sharing this quest for fulfillment.

Those of different generations perhaps can relate in a universal parallel lives’ way, for whip-smart playwright Wendy Wasserstein’s entertaining and profound insights endure.

As a fellow child of the 1960s, Wasserstein’s words have always spoken to me. But now, looking in the rear-view mirror, with humor, heart and hindsight, this ensemble’s backbone and boldness was measurable.

Consciousness-raising, 1970s style. Photo by Jon Gitchoff.

Wasserstein, who sadly died of lymphoma at age 55 in 2006, won the Pulitzer Prize for Drama and the Tony Award for Best Play in 1989 for this masterwork. Fun fact: she was the first solo female writer so honored with the award.

Her long-lasting legacy is apparent, creating richly textured characters and the ever-identifiable self-doubts. She also wrote “The Sisters Rosensweig” and “An American Daughter,” plus an under-appreciated Paul Rudd-Jennifer Aniston 1998 movie “The Object of My Affection.” But none landed like Heidi’s story.

As Heidi Holland, Emily Baker’s transformation from awkward schoolgirl to confident feminist who becomes a well-respected art historian over the course of three tumultuous decades, 1965 – 1989, is realistic.

Hopeful in the 1970s but disillusioned in the 1980s, Heidi continues to search for what matters. She is passionate about women artists, informing students of neglected painters and their achievements in a man’s world. That she is fierce about – and good at teaching.

Owning her hard-fought choices, she eventually eschews the super-woman stereotype of yuppie-ism in favor of humanism, individualism and the road she wants to travel. In a discerning performance, Baker displays strength, vulnerability and intelligence.

Emily Baker, Joel Moses. Photo by Jon Gitchoff

The post-war Baby Boom generation known for navel-gazing and its cultural and societal impact has been analyzed many times, but this is one single woman’s voyage that resonates, and compassion is key.

Wasserstein’s atmospheric look back highlights specific years and events that everyone born between 1946-1964 has etched somewhere in their memory, starting with the agony of a teenage mixer then moving on to college activism, displaying the youthful optimism that presidential candidate Gene McCarthy, who opposed the Vietnam War, sparked in 1968.

That sets the tone for the significant characters who come in and out of Heidi’s life. Her first romance with a smooth-talking heartbreaker, the radical journalist Scoop Rosenbaum, leads to much second-guessing.

As the once-and-future womanizer who sells out for position and money, Joel Moses brings out Scoop’s brash, cocky and opinionated qualities, but also his charm. He winds up a prominent magazine editor who dines at Lutece and steps out on his wife, a children’s book illustrator and mother of his two children. But he and Heidi have always had a testy but candid connection.

Cutting a rug. Will Bonfiglio and Emily Baker. Photo by Jon Gitchoff.

The one constant male in her life is stand-up guy Peter Patrone, a gay pediatrician she met when they were young, and they instantly bonded over snappy repartee. Will Bonfiglio adds nuance to the earnest doctor, for they don’t ignore the scariness and worry during the AIDS epidemic. He shares his concerns with sympathetic Heidi.

Wasserstein selected touchstones as turning points. Her militant feminist friends gather for urgent consciousness-raising (IYKYK) during the growing women’s movement. They also attend baby showers and weddings.

The tides change when her successful friends that once rejected materialism to emphasize social responsibility now care about being seen and embrace status symbols in the 1980s.

Kelly Howe is delightful as Heidi’s trendy best friend Susan Johnston, who knows how to flirt and roll up her skirt in the school gym, throws herself into activism, then achieves major success as a Hollywood producer. They no longer have much in common but past loyalty.

Courtney Bailey, Paola Angeli. Photo by Jon Gitchoff.

Besides the four main actors, there are four others who capably play 16 supporting roles. Courtney Bailey and Ashwini Arora provide much comic relief, most notably Bailey as mother-to-be Jill and Scoop’s bride Lisa.

Arora is amusing as April, a vapid preening TV host, but as radical lesbian Fran, ready for liberation – or unleashing – in society, she is hilarious. “Either you shave your legs, or you don’t,” she says at the women’s meeting.

Wearing New Wave shoulder-padded power suits and colorful attire, Paola Angeli is a hoot as Susan’s and April’s assistants, and in the female gatherings as a friend. In addition, Bailey is Debbie and Arora plays Molly and Betsy.

Joshua Mayfield smoothly tackles five parts, including schoolmate, activist, waiter and boyfriends.

One of the funniest scenes is a morning talk show set, with guest appearances by Scoop, Peter and Heidi on “Hello, New York,” and how they handle the host’s superficial questions. The trio’s body language says so much about their characters.

The politics, music and fashions convey Heidi’s rapidly changing world and Schwetye’s vision is a keen lens into the time. She served as sound designer too, and her selections are a superb life soundtrack.

Joshua Mayfield, Emily Baker. Photo by John Gitchoff.

Showcasing seminal moments, like Nixon’s resignation in 1974, John Lennon’s murder in 1980 and the Berlin Wall being torn down in 1989, sets the moods. Kareem Deanes handled the demanding video projections with flair and Michelle Friedman Siler’s costumes splendidly define the personalities and the periods. It was as if she raided my old closets.

Inventive scenic designer Patrick Huber expertly handled the demands of apartments, Plaza Hotel, pediatric ward, restaurant and TV studio with nifty features. He also skillfully designed the lighting. Props supervisor Katie Orr did a swell job gathering items to decorate a doctors’ waiting room and gift-wrapped baby presents.

By the time we get to Heidi’s speech, “Women, Where Are We Going?” at an alumnae luncheon where she is the keynote speaker, she wants to cut through all the greeting-card platitudes that have ruled the narrative for all good girls. It’s an honest outpouring, sharing frustrations, aggravations and confusion.

Women of The Me Generation wanted it all but discovered there were personal costs and sacrifices to be made. Yet, found that forging one’s own path was possible. At last, Heidi chooses herself – and also finds comfort in knowing her friends have become her family.

Wedding reception guests Kelly Howe, Ashwini Arora. Photo by Jon Gitchoff.

Not seen on a local professional regional stage since The Repertory Theatre of St. Louis in 2007, this was a welcome reminder of the past, present and possible future.

With its potent performances and humor shaped through flawed characters, sarcastic remarks and uncertain times, this “The Heidi Chronicles” unequivocally states its relevance.

One glorious takeaway is that contemporary women’s roles are ever evolving, and when it seems that progress is stymied, we should remember we stand on the shoulders of giants, and can lead the charge into the future supporting uncommon women of any age and their choices.

The New Jewish Theatre presents “The Heidi Chronicles” from May 29 to June 15 at the Wool Studio Theater, 2 Millstone Campus Drive, Creve Coeur, Mo. Performances are on Thursdays, Saturdays, and Sundays. There is an additional show on Wednesday, June 4. Show times and tickets are available online at newjewishtheatre.org or by phone at 314.442.3283. NJT’s 2025 Season is generously sponsored by Mary Strauss. The play is 2 hours and 15 minutes long, with a 15-minute intermission.

Sunday, June 8 – Post-Show Talkback with the Director and Cast. Join members of the cast and crew following the 2pm performance for an engaging post-show discussion on the creation of NJT’s special production.

Emily Baker. Photo by Jon Gitchoff.

YoungLiars Fracture Fairy Tales in Clever Free-Spirited ‘Wolf Kings’

YoungLiars Fracture Fairy Tales in Clever Free-Spirited ‘Wolf Kings’

By Lynn Venhaus

A movable feast of tumbling ideas and kernels of wit, “Wolf Kings” is an inspired piece of inter-disciplinary performance by indomitable producing partners Maggie Conroy and Chuck Harper of YoungLiars.

The producers say they like to set hearts and minds on fire with bold theatricality, and this one has plenty of sparks to ignite. Written and directed by Harper, it’s a one-act fusion of original thought, critical thinking and re-imagined classics that are mysterious puzzle pieces in a larger picture designed to provoke and engage.

Back after a five-year hiatus, the avant-garde troupe was known for interpreting works in a lyrical and collage-like way, comparable to the like-minded experimental theater companies SATE and ERA.

They all draw from a close-knit collective that understands their assignments in interpreting these works. These performers don’t do dull – they bend, stretch and draw from literature to make statements and explore possibilities of live theater.

In “Wolf Kings,” a lionhearted quintet of women and that one-man band Cassidy Flynn take us in multiple directions, and the enigmatic journey appears to start in a Parisian literary salon.

With clever nods to fairy tales, Victorian theatricals, and French writers, Conroy and Harper adapted text and were inspired by the writings of Angela Carter, Alphonse Daudet, Marie de Rabutin-Chantal Sevigne, and Benjamin Walker.

Maggie Conroy and Kay Ailee Bush.

The ensemble had input as well as to shaping what their weekly gathering to ‘divert, distract and delight each other’ would be. Conroy role plays, as does Ashwini Arora, Frankie Ferrari, Keating and Kay Ailee Bush, who show up as if they are visiting Gertrude Stein’s studio at 27 Rue de Fleurus.

Their similar attire suggests a performance within a performance, setting the stage for quick changes – and revolving around a red cape. Marcy Wiegert designed the costumes to reflect a cabaret quality, then transforming into characters.

Flynn arrives, insistent to crash the clandestine soiree. But this eclectic mix – one arrives carrying a hatchet – isn’t exactly a book club although they are smart and could be hobnobbing with Zelda and Scott Fitzgerald, and other intellectuals and philosophers.

Balancing comedy and drama, the players are modern Bohemians who enjoy each other’s company. They demonstrate their verbal dexterity with a fun parlor game called “Compliments,” and quick-witted conversations ensue.

They play vinyl records, offering interesting needle drops for a dance party where they execute precise movements, choreographed by Mikey Thomas. Sound board operator Morgan Schindler, following Harper’s sound design, keeps us on our toes.

Eventually, they land on cloak-and-dagger storytelling, where they probe issues related to the Brothers Grimm fairy tale “Little Red Riding Hood,” but also 17th century folk tale versions. Converging in that proverbial cabin in the woods appears to be somehow connected to Angela Carter’s feminist short stories “The Company of Wolves,” “Wolf-Alice,” and “The Werewolf.”

Cassidy Flynn and Keating.

Who exactly is in danger and how straying from the path can be interpreted are given different options. Some characters go through metamorphosis, and there’s a sharp menacing turn as lines are blurred between those oppressed and who is oppressing in the forest. The actors display a passion and a purpose.

Lighting designer Morgan Brennan enhances the paradoxical elements.

While viewers may not understand where the playwrights are taking us, one constant is unpredictability. The group’s keen observational skills are intriguing to watch unfold through a tight-rope edge.

Because of the perceptive performers and their finely tuned interplay, the evening’s theatrical “Wolf Kings” challenges us as it entertains – taking us in bold directions as we try to find our way.

YoungLiars presents “Wolf Kings” Thursdays through Saturdays at 8 p.m. from Nov. 7 to Nov. 23 at The Chapel, 6238 Alexander Drive in Clayton, Mo. For more information: www.youngliarstheatre.org.

Frankie Ferrari and Kay Ailee Bush.

Lively Ensemble Ignites ERA’s Kooky ‘Romanov Family Yard Sale’

Lively Ensemble Ignites ERA’s Kooky ‘Romanov Family Yard Sale’

By Lynn Venhaus

It really is a yard sale and a play rolled into one kooky experience. A Masha! Masha! Masha! mash-up of absurd comedy and history, “Romanov Family Yard Sale” is another unconventional offering from ERA (Equally Represented Arts) Theatre, always pushing whatever envelope they think needs a prod.

All tchotchkes must go so that these survivors, pushed out of power during the Russian Revolution, can flee abroad. Explained as a “purgation play told in three demonstrations,” we travel back in time to July 1919.

These chapters identify the quirky focus: “Capeetalism,” “The Church of the Great Babooshka,” and “Independence Day.” Life, as they knew it, is over, and their future is scary, given the recent past and unmoored present.

This takes place exactly one year after the last Russian Tsar, Nicholas II, was executed, along with his wife, Empress Alexandra, and their children – grand duchesses Anastasia, Maria, Olga and Tatiana, and only son Alexei, a hemophiliac.

Their distant cousins want to escape to the U.S., with hopes of American filmmakers publicizing their plight. Chrissy Watkins, as very serious Dody, and John Wolbers, as a determined Kirk, arrive with their video cameras, and receive an enthusiastic royal welcome.

This part is fictionalized, but the House of Romanov really ruled imperial Russia from 1613 to 1917, until forced to abdicate and placed under house arrest by those Lenin-led Bolsheviks. That’s when the Iron Curtain came down as the Communist Party took over.

The play’s setting is in a former Tsar-sponsored theater wrecked by those revolutionaries. The loyalists warn us not to sit in a red chair, or we may be shot.

Frustrated by their predicament, they express themselves as people clinging to their old way of life. But they are also protective of each other, like families are.

You might feel like you are entering a reality TV zone. Prior to the performance, tables and racks are laden with goods that are later made available in the lobby. And the cast is already in character, hawking their wares and advising on what to do.

They are really pushing the ‘Baby Beans,” aka plush toy animals that look like the Beanie Babies popularized in the 1990s. There is no such Beanie Baby Bubble Burst in their world.

Ellie Schwetye as Little Yelena.

Using convincing thick Russian accents, aided by dialect coach Keating, an all-in repertory of regular ERA interpreters and other veterans dance, prance, bicker and sing “Take Me Out to the Ballgame” like they are putting on a pageant for their wannabe home in exile.

As part of this eccentric ensemble, they offer us bread, vodka shots, and Anastasia’s hand in marriage while trying to purge all their possessions.

They will collect tickets, and people do walk out with stuff (they even have a basket of plastic bags to carry purchases). Need a VHS copy of “Waterworld” or a well-worn romance novel?

It is not a prerequisite to brush up on Russian history to understand the story, but if you recall a basic outline, and recognize a Faberge egg, you’ll find Courtney Bailey’s clever original play even more amusing. And while the acting is mostly for laughs, their characters’ despair does peek through.

Adam Flores offers a touch of poignancy as bereaved Cousin Alexi, waltzing with his deceased wife, Cousin Katrina (a skeleton often guided by Bailey)..

Lucy Cashion, director and ERA mastermind, is adept at making classic literature structures fresh with unique twists and divergent perspectives.

She keeps the characters swirling so the action is swift, although a tad chaotic at times with 15 people on stage. Resourceful, she also designed the set and the sound and was the video editor.

She last tackled Russia in a Chekhov-inspired “Moscow” drinking game and one-act play produced for the St. Louis Fringe Festival in 2015, and again as a whimsical red-soaked Zoom play fundraiser in 2020.

Bailey, who wrote the imaginative “Bronte Sister House Party” for SATE in 2022, Best New Play Award from the St. Louis Theater Circle, has created another fertile playground for her latest effort.

Last year, the pair humorously combined the John Hughes Brat Pack comedy “The Breakfast Club” with a Bertold Brecht pastiche – and nod to Cold War spies in an East German political satire called “The Brechtfast Club.”

Inspired by Southern yard sales and pop culture touchstones, whip-smart Bailey has inserted references to the 1975 “Grey Gardens” documentary through very funny portrayals by Rachel Tibbetts as Big Yelena and Ellie Schwetye as Little Yelena, a perfect pairing.

She also credits the 1997 Dreamworks animated feature “Anastasia,” the “Independence Day” blockbuster movie from 1996, and Episode #822 of NPR’s “This American Life.” And apparently, Kate Bush’s 1980 song (also misspelled title) “Babooshka” was an influence.

Alicen Moser as Pigbat and Cassidy Flynn as Rasputin.

The spry large cast, some of whom were in “The Brechtfast Club” and The Midnight Company’s recent “Spirits to Enforce” that Cashion directed, includes characters you might recognize from their historical significance.

For instance, always hilarious Cassidy Flynn is Rasputin. He makes a dramatic entrance, in a stringy raven-haired wig with a shock of a silver streak, and black garb, as the controversial figure – charlatan or mystic, visionary and faith healer?

His sidekick, Pigbat, is played in disguise by Alicen Moser. I did not fully understand that character’s purpose, possibly only to add sight gags as she flaps her white Russian wings?

Ashwini Arora has fun toying with the public mystery of princess Anastasia – who may be dead or may be an imposter, or who might actually have escaped. That tale has been the subject of movies, plays and musicals, so the ERA collaborators incorporate the legend and surrounding confusion.

Three strong actresses play sisters named Masha like they are part of the Brady Bunch (of course!) – Celeste Gardner, Kristen Strom, and Maggie Conroy are engaging maidens, who can be kinda bitchy too, moving in unison.

They are outfitted in distinctive peasant garb, which displays the fine handiwork of costume designer Marcy Wiegert.

Exaggerating stereotypes, Miranda Jagels Felix is a hunched over and very worried Aunt Babooshka, wearing the traditional kerchief tied under the chin, and deep-voiced Anthony Kramer looks like a member of the politburo with a tweedy jacket and a thick mustache (that had trouble staying on) as Uncle Boris. He is obsessed with eggs, a running joke.

Multi-hyphenate Joe Taylor is this production’s Most Valuable Player, as he not only composed an interesting original cinematic-like score, but also plays the keyboard, and performed as “A Choir of Raccoons.”

He was the cinematographer for a black-and-white old-timey film called “The Last of the Romanovs” that is played at the conclusion. And added AV technician and music director to his chores, too.

As much as I enjoy watching this collective perform, and I consider their “Trash Macbeth” in 2016 one of the all-time treasures in local theatre, this play is too stretched out and would work better condensed into one act, not two.

A little nipping and tucking would heighten the ‘oomph’ that it achieves intermittently. As funny as Flynn is onstage, and the devilish Rasputin is in his wheelhouse, the middle “Church of the Great Babooshka” segment slumped when it went off on religious tangents, especially the communion.

Admittedly, the wedding ceremony, and plucking a game groom from the audience, was confidently handled, and the revelry was fun. Time for a daffy dance break!

The audience seemed to lean in to all the goofiness that ensues, even if it wasn’t always clear what was happening in this universe that teetered between fantasy and reality.

When you have that much assembled talent, it’s hard to find everyone a moment or two to shine, but they sure had a blast together as a tight-knit unit. These are swell collaborators who make the tiny but mighty ERA standout in the local landscape.

The show is co-produced by Cashion, Felix, Will Bonfiglio, and Spencer Lawton, who also effectively stage-managed. They are fully committed to surprising patrons and making sure their presentations offer something different.

Crisp work by Emma Glose as tech director and Denisse Chavez as lighting designer is also notable.

With their avant-garde experimental nature, inventive ERA always sparks ideas, and they gather the talent to pull off even the most peculiar material. No matter what, they are conversation starters.

ERA Theatre Presents “Romanov Family Yard Sale” from July 4 through July 20, Thursdays through Sundays, at 8 p.m. at the Kranzberg Arts Center (Blackbox theatre), 501 Grand Blvd., St. Louis, MO 63104. It is recommended for audiences age 21+. For more information, visit www.eratheatre.org, For tickets, metrotix.com.