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.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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
Sarah Gene Dowling as The Witch. Photo by Jon GitchoffPhoto by Jon Gitchoff
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Stephen Sondheim’s lush and richly layered score is flawlessly presented by music director Leah Schultz and an extraordinary 12-piece orchestra, with touching ensemble harmonies to match, setting apart Stray Dog Theatre’s fresh and clever “Into the Woods.”
Since the musical was first produced in 1986 before going to Broadway the next year, audiences have found new ways to see the message behind this beguiling gem: No one is alone.
Starting with its deceptively simple concept featuring familiar fairy tale characters interacting, the second act swerves into much darker territory. For they are desperately seeking happily ever after, but not transforming their lives until they change their selfish, foolish, and childish ways. But eventually, hope emerges after harsh occurrences.
The roster from Brothers Grimm and Charles Perrault’s centuries-old literary works includes Little Red Riding Hood, Cinderella, Jack and the Beanstalk, Rapunzel, and the childless couple from Thumbelina.
The themes involving parents and children touch on responsibility, morality, and the consequences of wishes to beautiful, emotional effect. (I expect to get misty-eyed in multiple scenes.)
“Nice is different than good.” It is a very grown-up tale that becomes more profound with each viewing and the passage of time, yet its structure isn’t predictable. The complexities of this insightful tale resonate 26 years later, which has been crucial to this show’s staying power.
That’s the genius of Sondheim’s collaboration with book writer and director James Lapine. They both won Tony’s – for score and book – but that year the top prize went to “The Phantom of the Opera.”
(If we’re mentioning prizes, the 2002 revival won the Tony for Best Musical Revival, a London West End revival in 2010 won the Olivier Award, and the most recent Encores! revival in 2022 that was so popular it extended its run multiple times, closing on Jan. 8, won the Grammy Award for Best Musical Theatre Album – and expect Tony nominations this spring.) Clearly a show that gets better with age, as long as the humanity is displayed.
Before Disney revised fairy tales, many were dark, and upon second glance, it’s not all cuddly forest animals and talking birds. However, director Justin Been recognized the whimsy and the playfulness, which he focuses on, with some snark. That helps considerably on the small intimate stage – yet he does not gloss over the less-than-merry, adding that necessary depth.
The library setting, with well-placed bookshelves, designed by Been and Dominic Emery, gives it a different perspective. The program lists the place as “an old library on the fringes of our memory.” And the time – “Maybe yesterday, could be tomorrow.” Been’s staging adroitly moves the characters physically to convey their power plays. And they leap off the pages, as this cast has no trouble breaking the fourth wall.
The narrator (Jon Hey) introduces four groups of characters – Cinderella (Maggie Nold) wishes to go to the festival, Jack (Shannon Lampkin Campbell) wishes that his cow Milky White would give milk, a baker and his wife (Tyler Luetkenhaus and Margaret Stall) want to have a baby, and Little Red Riding Hood (Grace Langford), wants to visit her grandmother.
The baker’s neighbor is a witch (Jennelle Gilreath Owens) who has been pulling the strings from bitterness. A curse she cast has made them infertile because his father stole her vegetables, including magic beans. Her own mother cursed her, making her old and hideous. In turn, she took the baker’s father’s child, Rapunzel (Dawn Schmid).
The Witch makes a deal – 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 – and she’ll reverse it.
And we’re off “Into the Woods” on the rugged journey, where there is more chicanery afoot. Nobody is who they appear to be. Will they find out if what they’ve always wished for is what they truly want? They will lie, cheat, and steal to achieve their goals, but when the going gets tough, realize they must work together. The characters learn that they must carry each other, or the show will not resonate as deeply.
The 14-member cast fluidly follows its course, with some roles typically doubled. Most display crisp comic timing and strong vocals at the same time, although some characters aren’t that amusing (Jack’s mom, the tragic Rapunzel, and the rather generic roles of Granny and Cinderella’s Mother).
The Wolf, Little Red. Photo by John Lamb
As the petulant Little Red Riding Hood, Grace Langford brings out the girl’s brattiness, and then learns some things: “I Know Things Now.”
The ever reliable and assured Jon Hey plays both the Narrator and the Mysterious Man, who slithers out of owning up to responsibility. And his occasional jig must be a nod to Rumplestiltskin.
This time, though, Cinderella’s Prince and the Wolf, are played by separate characters. Agile Drew Mizell and animated Sarah Polizzi humorously step into the princes (Cinderella’s and Rapunzel’s) and as Cinderella’s awful stepsisters Florinda and Lucinda. It may be stunt-casting, but it works.
In fact, the broader the comedy, the more fun the performer has. It’s a treat to see comical Michael Wells return to the Tower Grove Abbey stage in multiple roles, for he is deliciously wicked as the Wolf (“Hello, Little Girl”), then portray Cinderella’s father, Prince’s steward and make hilarious sound effects as the crying baby.
The splendid Jennelle Gilreath Owens takes a more cynical, less menacing approach to the diva role of the Witch, which suits her, delivering a disconcerting “Last Midnight” and dynamic “Children Will Listen.” Her dialogue stings – especially such memorable lines as “I’m not good; I’m not nice; I’m just right” and “I was just trying to be a good mother.”
Other standouts include Tyler Luetkenhaus and Margaret Stall as the Baker and Baker’s Wife, both making noteworthy debuts. They breezily sail through “It Takes Two,” while their signatures “Moments in the Woods” and “No One Is Alone” are superb.
Bringing out the baker’s flaws, Luetkenhaus adds a layer of deceit that’s not always there, and you sense that the couple is truly working through their issues as the characters. It’s not always as superficial as some of the other characterizations. They delve into the hearts and minds.
Shannon Lampkin Campbell is a spunky yet naive Jack the Giant Killer, robust in “Giants in the Sky.” Been has moved the physical confrontation between the giant’s wife, steward and Jack’s mom (Laura Lee Kyro) offstage, which accounts for less fireworks. Yet, Milky White is as funny as ever, with its goofy, squatty, small appearance.
Photo by John Lamb
Just as she showed in “A Little Night Music,” Madeline Black has a regal bearing and her speech pattern accents the haughtiness of Cinderella’s stepmother. Granny and Cinderella’s mother are handled competently by Jennifer Clodi, who also voices the frightening Giant and his livid Wife.
The princess roles are capably filled by Dawn Schmid as distraught Rapunzel and Maggie Nold as tormented Cinderella, bringing out their characters’ insecurities.
The ensemble appears to be having fun together and has the silky-smooth voices to meet their major moments. It’s such a pleasure to hear the sublime Sondheim sung as intended.
Schultz has conducted the orchestrations by Jonathan Tunick with expert finesse, nimbly leading Marie Brown and Paul Rueschhoff on cello (alternating performances), Mo Carr on trumpet, Chuck Evans on viola, Steve Frisbee on violin, John Gerdes on horn, Lea Gerdes on flute, piccolo and reed, Mike Hanson on percussion, Ian Hayden on reed, and M. Joshua Ryan on bass through Sondheim’s recurring motifs. They are strategically placed among the bookshelves, a savvy touch.
Sarah Gene Dowling’s colorful wig design enhances the fantasy storybook world, pairing well with Eileen Engel’s character-appropriate costume design.
Jacob Baxley’s sound design is crystal clear, and Tyler Duenow’s lighting design effectively sets the moods.
And because the songs are so exquisitely rendered, moments will linger. The second act is aural perfection, connecting the story threads into a magical experience that is awe-inspiring.
Photo by John Lamb
Stray Dog Theatre presents “Into the Woods” March 30 – April 22 at 8 p.m. Thursdays through Saturdays, with additional performances at 2 p.m. on Sunday, April 2 and Sunday, April 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking. Additional information and ticket reservations: Call (314) 865-1995. Visit www.straydogtheatre.org.
The 3/31, 4/7, 4/14, and 4/21 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
Audio Description: The 4/16 performance will be Audio Described by MindsEye. Audio Described performances are suitable for audience members who are blind or partially sighted. Please note that if you are interested in participating in the audio description of this performance you will need to call the Box Office to order your ticket. Please announce that you would like to reserve a pair of headphones for the Audio Description.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
