Spry Cast Distinguishes Stray Dog Theatre’s Lightweight ‘Ripcord’

Spry Cast Distinguishes Stray Dog Theatre’s Lightweight ‘Ripcord’

By Lynn Venhaus

Winning performances enliven a slickly produced “Ripcord” that sprinkles poignant moments among well-executed broad physical humor.

In the vein of classic sitcoms like “The Golden Girls” and the evergreen Neil Simon smash hit “The Odd Couple,” Stray Dog Theatre’s latest play is relatable because of a finely tuned ensemble convincing in a clash of temperaments and wills.

This 2015 comedy from the acclaimed playwright David Lindsay-Abaire is not as emotionally gut-wrenching as his Pulitzer-Prize winning drama “Rabbit Hole,” or as piercing as his social commentary “Good People,” but its familiar beats entertain.

Last year’s Tony winner for Best Book and Score (Lyrics) of a Musical for “Kimberly Akimbo,” Lindsay-Abaire has adapted “Shrek” and “Cinderella” into hit musicals with a populist flair.

Sprightly Annie Bayer and Jan Mantovani play the two warring widows at the center of this good-natured work, keeping a brisk pace with graceful movements and snappy banter.

Matt Anderson, Donna Parrone, Jan Mantovani. Photo by John Lamb.

Mantovani is delightful as an endlessly chipper Marilyn whose sunniness annoys the perpetually grouchy Abby (Bayer), her new roommate at an assisted living center. They deliver zingers with aplomb as their differences and life stories emerge.

However, because Abby is such a prickly personality and unrelentingly dour, Bayer’s character comes across as more one-note, but she will have opportunities to provide some backstory context to her behavior.

It’s obvious from how it’s written that one is immediately drawn to the agreeable Marilyn and unsympathetic to the constantly complaining Abby, who doesn’t play well with others.

When Abby exhausts the conventional means to have Marilyn moved to a different room, the pair lay their cards on the table. They make a bet with each other, with the prize this plum second-floor real estate. Marilyn can have the bed closest to the window overlooking a park if Abby makes her angry, and she’ll move out if she can scare Abby.

The dirty tricks escalate – some hurtful and mean – until a winner is declared. While the sweet-and-sour duo play off against each other well, it is the addition of sharp supporting players that swiftly moves the story along.

Victor Mendez is the pleasant aide Scotty, an aspiring actor, who connects the dots to the facility’s staff and procedures. Donna Parrone is Marilyn’s loving daughter, Colleen, and Matt Anderson is her goofy but well-meaning husband Derek. They’re supportive and assist with the schemes.

Jan Mantovani, Jeremy Goldmeier. Photo by John Lamb.

Anderson and Parrone also humorously double as part of a very theatrical trio of actors trying to frighten people at a bargain-basement haunted house. Jeremy Goldmeier joins them in this wildly overzealous troupe. He also adroitly flips the switch as Benjamin, Abby’s estranged son.

Their expert comic timing is a plus as slapstick-y shenanigans are nimbly staged.

Gary F. Bell skillfully directs in a light-hearted style, emphasizing humorous exchanges and surprising developments. The pranks look fun to pull off, and the actors keep the action fresh and the element of surprise genuine.

Rob Lippert’s set design depicts a standard double-bed room, with ubiquitous institutional décor, and has smoothly indicated scene changes involving a haunted house and skydiving experience.

Costume designer Colleen Michelson has selected appropriate casual attire for each character, and Tyler Duenow’s lighting design is effective.

Of special note is Justin Been’s sound design, which is a tad more complicated than one would think, given the play’s simple senior living setting. But he masterfully weaves in authentic sounds incorporating skydiving and a dramatic spooky scenario, not to mention a music score that compliments the story.

The cast engages and the crew’s efforts to polish this production are evident. The play may lack the substance featured in Lindsay-Abaire’s other works, but it satisfies because of an earnest team caring to make it personal.

Stray Dog Theatre presents “Ripcord” from June 6 to June 22, on Thursdays through Fridays at 8 p.m., with a special matinee at 2 p.m. on Sunday, June 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking.

Tickets: Adults $35 / Seniors (65+) & Students $30 (Cash/Checks/All Major Credit Cards). Additional Information and Ticket Reservations: Call (314) 865-1995 or visit www.straydogtheatre.org. Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre.

Matt Anderson, Victor Mendez, Jan Mantovani, Annie Bayer. Photo by John Lamb.

Tesseract Theatre Company to Premiere Two New Plays in July

Tesseract Theatre Company to Premiere Two New Plays in July

The Tesseract Theatre Company is moving to the Marcelle Theatre with two new plays by local playwrights. The St. Louis premieres of “The Length of a Pop Song” by Taylor Gruenloh and “All That Remains” by JM Chambers will open in July.

“The Length of a Pop Song,” directed by Karen Pierce and featuring the cast of Rhiannon Creighton, Donna Parrone, and Kelvin Urday, will run July 8 – 17.

“All That Remains,” directed by Brittanie Gunn and featuring the cast of Luis Aguilar, Melody Quinn, Morgan Maul-Smith, Nyx Kaine, Sherard Curry, and Victor Mendez will run July 22 – 31.

Performances will be Friday and Saturdays at 8 pm, Sundays at 4 pm.

The Length of a Pop Song by Taylor Gruenloh: Lex has no choice but to move back into her parent’s house after another incident of self-harm. Her mother wants to help prepare her for an upcoming trial against an adult website hosting non-consensual videos of Lex, but Lex can’t find a reason to look forward to tomorrow.

All That Remains by JM Chambers: Gary survives a school shooting and isn’t dealing with the trauma well. Gary’s wife Elaine is trying her best to hold it all together, take care of Gary, work, pay the bills, and deal with her own sadness. Gary and Elaine can’t go on living this way forever and soon they both reach a breaking point.

The Marcelle Theatre is located at: 3310 SAMUEL SHEPARD DRIVE, SAINT LOUIS, MISSOURI 63103

Tickets are available for both plays at MetroTix.com. $20 for general audience and $15 for students.

Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

By Lynn Venhaus

It is tempting to use food metaphors to describe “Feast.” After all, we are the invited guests at a banquet presided over by a glamorous and flamboyant hostess, who appears to be gracious and welcoming.

The carefully crafted experience is not unlike a tasting menu prepared by a Michelin- starred chef. Playwright Megan Gogerty and dramaturg Melissa Trepa have deftly mixed textures and flavors to create bold statements and subtle undercurrents.

A St. Louis premiere, this unusual and provocative one-woman show is an ambitious work by the intrepid Gogerty, written in 2019. She has woven a tapestry using images of an ancient myth, revisionist thinking on the classic literature “Beowulf” and a cultural reckoning.

In an Old English epic poem set in the 6th century, the valiant Beowulf is lauded for his strength over demons and beasts. He has traveled to help a king whose hall is terrorized by a monster, Grendel. He slays Grendel and later kills his mother, but not before she has crushed an advisor, Aeschere, in retaliation. Later, the hero becomes king, ruling for 50 years, but is eventually defeated by a dragon. Despite his death, a feast goes on in his honor.

In one of her finest performances yet, a fiery Donna Parrone reveals a personal tale of vengeance, in vivid details. We witness a maelstrom of outrage, grief and feminist comeuppance as she seethes with anger – and is gleeful about her perceived victory against a mighty enemy.

This unnamed character, the “She” here, is mother to Grendel. She might be a magical mythological creature disguised as a middle-aged woman, trying to reconcile past actions. As she reflects on what she has done, there are greater implications regarding humanity.

At first, she comes across as mercurial, and as she discloses the reasons behind her rage, she delves deeper into her emotions, recalling past grievances. Hell hath no fury liked wronged mothers.

Gogerty, using the tragedy as power, makes the case that maybe Beowulf is not such a good guy after all – especially if you read between the lines and view it from the eyes of a mother.

The Tesseract Theatre Company, which specializes in presenting new plays in intimate settings, always has something to say – using drama to create a new point of view.

Maybe you haven’t thought about “Beowulf” since college. Perhaps you have never read it (I admit my ignorance). Even with the “Feast” reimagining, it’s worth knowing the basic plot — but you can enjoy the presentation as a newbie, especially as a universal truth about dominant male patriarchy and how society views motherhood.

That’s because director Shane Signorino, no stranger to the classics, has made sure the political overtones can be translated to the present. As we have sadly been forced to confront, authoritarianism isn’t just in the past. Kayla Bush is the assistant director.

Donna Parrone in “Feast”

Signorino moves Parrone all over the small space with purpose – pleading, scoffing, distressed. This woman refuses to be ignored. It’s one of those virtuoso portrayals where you are mesmerized by the nuances, the change in tempo and tone – and the interpretation of every mood and meaning.

This absorbing production is challenging in ways we have missed during the pandemic. Parrone demands that we listen. Quiet, please – there is a lady on stage! She has been wronged in the worst possible way. After the loss of a child, mothers have an unfathomable depth of sorrow, and this woman, on the periphery of a dark abyss, must be heard.

Parrone has specialized in strong women roles during the past few years, particularly at Tesseract, and one of her finest performances was as Lee Harvey Oswald’s controlling mother Marguerite in “Mama’s Boy” by Rob Urbanati, presented in the fall of 2018.

But this demanding role is on another level and requires a special reserve of stamina.

The technical elements – scenic and lighting design by Taylor Gruenloh and Brittanie Gunn, sound by Megan Barris, music – all create an atmosphere that is highly theatrical.

Watching Parrone’s physicality makes the show very real. She interacts with the audience, with some seated at a few tables, and in chair groupings. You can’t not be a part of the dinner party.

Yes, it’s serious – but it is inspired and not devoid of humor. Consider the presentation as food for thought. If you are hungry for an uncommon drama, “Feast” is worth tasting.

The play runs from June 11 to 27, with performances at 8 p.m. on Fridays and Saturdays and at 4 p.m. Sundays at the .Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com

You can request socially distanced seating, and they ask that your masks remain on during the performance for the safety of all patrons.

Tesseract Theatre Company Returns with ‘Feast’ on June 11

Tesseract Theatre Company Returns with ‘Feast’ on June 11

The Tesseract Theatre Company is returning to the stage at the .Zack Theatre with new play “Feast” by Megan Gogerty. The St. Louis premiere of Feast will star Donna Parrone and be directed by Shane Signorino. The production will be live and run June 11 – 27, Fridays and Saturdays at 8 pm, Sundays at 4 pm.

A brave new work, navigating the intersection of politics and myth. Highly theatrical and timely, this dinner party is both thrillingly ancient and fiercely present. This is an immersive, visceral theatre experience where mythology crashes into pop culture. Feast reimagines an ancient myth as a cautionary tale against the rising forces of authoritarianism.

The .Zack Theatre is located at 3224 Locust Street, St. Louis, Missouri 63103.

There will be group seating as well as social distanced seating available in the space. There will be a limited number of tickets on sale for each performance. As of now, audience members will be asked to wear masks in the space for the duration of the performance for the safety and comfort of all other audience members.

Tickets are available at MetroTix.com. $20 for general audience and $15 for students.

Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

Bright Lights Column: Shine On, St. Louis

Bright Lights Column: Shine On, St. Louis

By Lynn Venhaus
Managing EditorTHAT VOICE: Are you on Team Kennedy yet? If you haven’t heard Kennedy Holmes, 13, from St. Louis in her blind audition on “The Voice,” be prepared to be wowed and understand why it went viral.
Part of The Muny Kids for five years, Kennedy starred as Little Inez in the 2015 “Hairspray” production, has sung the national anthem for Cardinals’ games and appeared as one of the Cratchit children in “A Christmas Carol” at The Rep in 2016. She is an eighth grader at John Burroughs School.
Her confident delivery of Adele’s “Turning Tables,” which showcased her control and range, impressed all four judges and got a 4-chair turn – and standing ovation.
She auditioned in Indianapolis earlier this year and is the youngest person in the singing competition this season. Producers saved her for the last spot and teased her appearance in a sneak peek last week that set her schoolmates and local folks buzzing. The cliffhanger coach pick was easy to guess.
Kennedy, while remarkably poised singing, got emotional over Jennifer Hudson, and then sang with her idol in an impromptu “I Am Changing” from “Dreamgirls.”
The guys made convincing pitches.
Adam Levine: “Very, very rarely does someone come around that kind of reignites our passion for what we do. And to hear you sing today did that. Just to see that kind of confidence naturally exist in you at such a young age, it’s unheard of. After the 15 seasons, you really could become the absolute biggest thing to ever come from this show.”
Blake Shelton: “Let me be the first to thank you for coming to ‘The Voice,’ ’cause our ratings are going to shoot through the roof this evening. I think you are the best vocalist that has auditioned this year. I want you to pick me as your coach so you can teach me how to sing like that.”
After Kennedy’s pick, Hudson was ecstatic. “I think the game is over because I just won ‘The Voice’ with little Miss Kennedy. Yes, I did.”
Here’s the clip from the Blind Auditions, which started Sept. 24. To date, her audition video has been viewed 3.6 million times on YouTube.com.

This isn’t the last we’ve seen of Kennedy. It will be fun watching her progress on the national stage, next in the Knockout Rounds, then hopefully Battle Rounds and Live Performances. (And the local television and radio stations are all over it.)
***DEVIL MAY CARE: As the calendar turns autumnal, it’s time for sinister, spooky suspense. Five local theater groups have teamed up to present “Faustival: The Devils We Choose” – one in August and the rest through December.
The artistic collaboration is between Equally Represented Arts, The Midnight Company, Theatre Nuevo, SATE, and the Post-Romantics. They are presenting works on the Faust myth from the 16th century – about a scholar who sold his soul to the devil in exchange for perks.
ERA FaustIn August, ERA, along with Kid Scientist, presented “Faust (go down with all the re$t),” an experimental rock-opera-adaptation of Goethe’s most celebrated work.
Currently, The Midnight Company is presenting the one-act “An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on This His Final Evening,” along with another one-act by Mickle Maher, “The Hunchback Variations.”
For more information, www.midnightcompany.com
In October, Theatre Nuevo will present “whither should I fly” from Oct. 25 – Nov. 10 at the William A. Kerr Foundation, 21 O’Fallon St., St. Louis. For more information, visit www.theatrenuevo.com
Starting on Halloween, “Doctor Faustus, or the Modern Prometheus” by John Wolbers and Kit Marlowe will be performed by Slightly Askew Theatre Ensemble (SATE) Wednesdays through Saturdays through Nov. 17 at The Chapel, 6238 Alexander Drive, St. Louis. For more information, www.slightlyoff.org.
The Post-Romantics will present “Doomsday Faust” Dec. 5 – 8 at the Centene Center for the Arts, 3547 Olive Street, St. Louis.
For more information, please visit faustival.org.
***MOVING ON UP: The aforementioned John Wolbers, who has adapted Faust for SATE, shared some exciting news recently. He is a new Producing Associate at the Metro Theatre Company. He has served as the full-time resident teaching artist at MTC since the 2012-2013 season. He will assist Artistic Director Julia Flood with casting, directing and production administration.
Andrew Kuhlman is Broadway bound! He is currently working in New York as a co-producer on “The Prom,” the Broadway musical comedy that begins previews on Oct. 23. Andrew, an associate producer at Stages St. Louis, made the announcement Sept. 7.
“I am beyond excited to be taking this journey with a show that I could not believe in more. I cannot wait for audiences to fall in love with this hilarious, heartfelt and energetic musical,” he said.
“The Prom” has some prominent local connections – including Jack Lane, at Stages St. Louis, as one of its producers. Lane already has two Tony Awards as part of the group behind “Fun Home” and “The Humans.”
Joe Grandy, Andrew Kuhlman of “The Prom”The show lyricist and book writer is Chad Beguelin, who grew up in Centralia, Ill. He’s a multiple Tony nominee, for book and lyrics to “The Wedding Singer” and lyrics to “Aladdin.”
The cast includes Muny favorite Beth Leavel, Tony winner for “The Drowsy Chaperone,” and Muny veterans, including St. Louis natives Drew Redington and Jack Sippel, and Fairview Heights native Joe Grandy.
***WHO’S WHO: Upstream Theater is hosting renowned director Marianne de Pury who will stage the U.S. premiere of “Chef” by UK/Egyptian playwright and poet Sabrina Mahfouz. The one-woman show, starring Linda Kennedy, opens Sept. 28 and runs through Oct. 14.
Linda Kennedy, Photo by ProPhotoSTL“Chef” is the gripping story of how one woman went from being an haute-cuisine head chef to a convicted inmate running a prison kitchen. Leading us through her world of mouth-watering dishes and heart-breaking memories, Chef questions our attitudes to food, prisoners, violence, love and hope.
Originally from the French part of Switzerland, de Pury is known for her work with the famed Open Theatre, where she composed music for “America Hurrah” and “Viet Rock.” Since those days she has directed all over the world–mostly in Germany, where her most recent work, “The Importance of Being Earnest,” was nominated as one of the year’s best productions.
Playwright Rob Urbanati came to the ‘Lou for Tesseract Theatre Company’s opening of his play, “Mama’s Boy,” which explores the relationship between a controlling mom and her son, who gained infamy as the assassin of President John F. Kennedy.
Here he is with the cast after Friday night’s show. They got our attention opening night at the .Zack, conveying a roller-coaster of emotions played out in historical context.
Urbanati, of New York City, is a playwright, screenwriter, book author, director, and director of new play development at Queens Theatre in the Park. His well-constructed 2015 drama is a fascinating exploration of family dynamics. It’s directed by Brad Schwartz.
From left: Jeremy Goldmeier (Robert Oswald), Brandon Atkins (Lee Harvey Oswald), playwright Rob Urbanati, Donna Parrone (Marguerite Oswald) and Carly Uding (Marina Oswald).
Lynn Venhaus photo***AROUND TOWN: Alas, the Stephen Sondheim appearance in St. Louis Oct. 4 is sold out. He is accepting the 2018 St. Louis Literary Award from the Saint Louis University Library Associates for being one of the most eminent lyricists and composers of the modern era.
He is the first musical lyricist to win the award since its inception in 1967. In a remarkable career spanning 70 years, Sondheim has written the lyrics, music —or both, for some of the most iconic and long running plays in the history of American theater.
The response was overwhelming, and all seats in the Sheldon Concert Hall and the simulcast viewing room have been reserved. During the event, which begins at 7 p.m., Mike Isaacson, executive producer and artistic director – and major Sondheim fan – will interview him on stage.
Three-time Tony Award winner “Avenue Q” has been extended three more weeks for its winter presentation at the Playhouse @ Westport.
Because of overwhelming ticket response, the “furry, funny and feel-good musical” will now run Jan. 25 – March 3. The cast is a combo of local and touring performers.
Another famous St. Louisan, poet, novelist and playwright A.E. Hotchner, an alumnus of Washington University, has endowed an annual Playwriting Festival. Three new works will be presented this weekend (Sept. 28 and 29) – “Tom and Grace” by Scott Greenberg, “Arriving At” by Ike Butler on Saturday at 2 p.m. and “Florida” by Lucas Marschke at 7 p.m. The guest dramaturg is Michele Volansky, chair of the drama department at Washington College in Maryland. The event is sponsored by Newman’s Own Foundation. For more information, visit: pad.artsci.wustl.edu.
The Stage Left Grille is now under Fox Management, so you can stop there for a bite to eat before a show at the Fox Theatre, the Kranzberg Arts Center or The Grandel, or any place in the Grand Arts Center.
“Confessions of a Nightingale,” a production from the Tennessee Williams Festival set for Nov. 1-4, has to be postponed until 2019.
***CHAMPAGNE & MOONSHINE: If you saw “Always, Patsy Cline” at Stages St. Louis in 2014 or at The Playhouse at Westport the following year, you must remember Jacqueline Petroccia as the star. A national sensation in that role, I recall that her velvety voice was “like butter.” She has released a debut solo album, the double EP “Champagne and Moonshine,” Collaborators on the album include musician royalty from Music City, including members of the Nashville Symphony, the award-winning Rascal Flatts, and Broadway Musician Brent Frederick.
Recorded live, with special permission, at the legendary and historic Quonset Hut on Music Row in Nashville, Tenn.,the album is available online through CD Baby (physical copy), Amazon, and iTunes.
The first EP, “Champagne,” features a big band sound appropriate for any ballroom or supper club, including an original arrangement mix “Crazy/Crazy He Calls Me,” and “Mambo Italiano.” The second EP, “Moonshine,” features new country music hits, and her original debut single “Your Name in Lights,” written by Brandon Hood, Hillary Lee Lindsey, and Troy Verges
Her other stage credits include the national tours of :The Producers,” “The Sound of Music” and “Fiddler on the Roof.” She was a featured soloist on the album “Where the Sky Ends” by Michael Mott (Broadway Records) and has appeared on “Prairie Home Companion,” featured with the Williamsburg Swing Orchestra and in her solo cabaret show Sometimes Patsy Cline (productions at 54 Below and Regional Theatres). More information can be found at JacquelinePetroccia.com
***YOU GO GLEN COCO: “Is butter a carb? Whatever, I’m having cheese fries.”
Wednesday, Oct. 3, is unofficially known as National Mean Girls Day, so imaginative Chef Liz of Tenacious Eats has created a fun event for the evening. Tickets are $35 and include a Mean Girls-inspired cocktail, entree and Kalteen Protein Bar for dessert.
Expect some “fetch” prizes if you can answer some Mean Girls trivia and photo ops will be available with a Lindsay Lohan lookalike. Costumes are encouraged, and it is on a Wednesday, so you might want to wear pink!
The Tina Fey movie will be shown at 7 p.m. on the big screen at the West End Grill & Pub, 354 N. Boyle. Doors open at 6 p.m. for pre-show fun, Mean Girls trivia, prizes and photo ops. Tickets are available at: www.BrownPaperTickets.com.
***WORD: Decoding Theatre Reviews – a must-read: http://exeuntmagazine.com/features/theatre-reviews-decoded/
***GO SEE A PLAY POLL: Who are your favorite moms in musicals? Answer our poll and you will be entered in our drawing for two tickets to “One Funny Mother” at the Playhouse @ Westport Plaza on Wednesday, Oct. 3, at 8 p.m.
Dena Blizzard, former Miss New JerseyHilarious Dena Blizzard, best known as “The Target Mom,” is a viral sensation and former Miss New Jersey. Her one-woman show puts the fun in domestic dysfunction.
FAVORITE MOM IN MUSICALS:Mae Peterson in “Bye, Bye Birdie”Margaret Smith in “Carrie”“Big Edie” Edith Ewing Bouvier Beale in “Grey Gardens”Edna Turnblad in “Hairspray”The Witch in “Into the Woods”Lady Thiang in “The King and I”Margaret Johnson in “The Light in the Piazza”
Send your pick to: lynnvenhaus@gmail.com by Monday, Oct. 1, at noon. Winner will be notified soon after, and arrangements will be made for your tickets to be waiting for you at the box office.
Our last winner was Christopher Strawhun for “Oklahoma!” at Stages St. Louis.
***TRIVIA TIME-OUT: Let’s hear it for St. Louis native Chris Redd and longest-ever SNL cast member Kenan Thompson on their Emmy win for Outstanding Original Music and Lyrics for “Come Back, Barack,” a Boyz II Men-style parody from last November’s episode hosted by Chance the Rapper.

Q: Despite multiple nominations, SNL has won only once before, for what song?
Justin Timberlake and Andy Samburg’s collaboration, “D**k in a Box.”
Fun fact: Theme songs also count for the award. “Moonlighting,” “Cheers,” “Chico and the Man,” “Growing Pains” and “Police Woman” have won.
Chris Redd didn’t live in St. Louis long and moved to Chicago as a youth. He is back at “Saturday Night Live” for his second season, which starts this Saturday, with host Adam Driver and musical guest Kanye West.
***
Tips? Contact: lynnvenhaus@gmail.com