By Lynn Venhaus

With boundless enthusiasm, a six-person ensemble enlivens “The Two Gentlemen of Verona,” an early Shakespeare comedy about boundaries in friendship and romance that remains a timeless cautionary coming-of-age story.

The intent is light-hearted, the folly of best buds falling in love with the same woman, and the betrayal and forgiveness that ensues. And saucy minions, too. (Google it).

If we’re outdoors, it must mean it’s a lovely summer evening courtesy of St. Louis Shakespeare Festival’s annual TourCo, where they travel across the bi-state area to bring live theater to local parks and plazas, this year 33 locations in all.

Six years’ strong, this far-reaching accessible and free initiative has evolved into a must-see experience. It is both the longest running play in St. Louis every season and the second largest Shakespeare tour in the country.

Sarah wilkinson and Tristan Wallach as young lovers Julia and Proteus. Photo by Phillip Hamer.

The picturesque open-air Cohen amphitheatre setting at the Missouri Botanical Garden was the stage Wednesday night, and it showcased all the key aspects of Shakespeare in the park that entertain: appealing performers, musicality and surprises – this time, a scene-stealing dog in the cast.

Director Rebekah Scallet, a Shakespeare veteran, has brought out the universality of the story, generally regarded less than other works, but she points out that it is a precursor to other themes and situations he explores in later plays. Capricious young men! As is typical in early Shakespeare comedies, there’s misunderstanding, disguises, and growing up to do.

What separates this version is its zip. The cast delivers a zesty introduction to set the stage for the 90-minute show in their Living Study Guide, which is a summary explaining characters and their motivations at the beginning. Because it’s a compact and concise adaptation, where the actors play multiple roles, they let us know who’s who and what’s what.

The energetic performers dash around, frequently changing an outfit or grabbing a musical instrument. All but one are making their Shakespeare debut. Newcomer Tristan Wallach is Proteus, who shifts from lovesick romantic into a traitor who betrays both his girlfriend Julia (Sarah Wilkinson) and best friend Valentine (Otto Klemp, who was in “The Tempest” earlier this summer).

Bryce Miller, Tristan Wallach and Jayson Heil. Photo by Phillip Hamer.

In Milan, to broaden his horizons, Valentine falls in love with the strong-willed Silvia (Jade Simone Francis), daughter of the Duke (Jayson Heil). Proteus, who stayed home, fell in love with Julia. However, Proteus’ father Antonio has sent him to Milan, where he falls in love with Valentine’s girlfriend. Rut-ro. But Silvia rejects him, repeatedly (cue women in audience applauding).

But things get messy as loyalty and good judgment go out the window, and we travel between court to forest (sound familiar?). Say what you will, but in those Renaissance times, they valued the bonds of male friendship over romantic love. Hmmm…That was around 1590, and times have changed.

Charmer Bryce Miller adds oomph to his role of Speed, the quick-witted servant of Valentine. He often comments on the two besties’ foolish antics and works hard to make sure the ‘older language’ sounds fresh. He also portrays goofy Thurio, a wealthy suitor pursuing Silvia, who is favored by the Duke.

As the smart but impulsive Julia, graceful and winsome Sarah Wilkinson disguises herself as a page boy, ‘Sebastian,’ to spy on Proteus, the first evidence of Shakespeare’s cross-dressing heroines. She is assisted by her sassy waiting-woman, Lucetta, played vibrantly by Francis. She has a more practical attitude about courtships than the fickle youths do, especially her faithful boss.

Otto Klemp and Jade Simone Francis. Photo by Phillip Hamer.

Adding even more charm is the seventh cast member, Crab, the ill-behaved pet of clownish Launce (Jayson Heil), Proteus’ servant. Five dogs are being rotated to play this scene-stealing role.

Many times, in Shakespeare comedies, the supporting characters are more interesting than the male leads, and that holds true here. Wallach and Klemp are fine in lead roles, but where they shine is in their acoustic musical accompaniment. They are both accomplished musicians.

Another distinguishing factor is original music, under the superb direction of Larry D. Pry, whose arrangements of melodic tunes fitting the period and setting stand out. The original music was written by Jordan Coughtry, who worked with Scallet when she was artistic director at the Arkansas Shakespeare Theatre.

It’s not all that unusual that “The Two Gentlemen of Verona” features music, for a groundbreaking rock musical adaptation at Joseph Papp’s NYC Shakespeare in Central Park in 1971 went on to Broadway and won the 1972 Tony Award for Best Musical (and best book), featuring Clifton Davis and Raul Julia as the leads.

Pre-pandemic, St. Louis Shakespeare Festival presented a 1980s hip-hop high school musical version of it, “Dress the Part,” in February 2020 from The Q Brothers, who played football players among over 20 parts, which won an ensemble award from the St. Louis Theater Circle in 2022.

Jayson Heil with Rocky, a Golden Retriever, as Crab. Photo by Phillip Hamer.

This company features a similar fast-paced, playful spirit that Scallet strived for, imbuing a fresh attitude.

The touring company requires a portable set, and scenic designer Katherine Stepanek shows her keen eye for setting a stage to be practical and attractive, with floral-festooned arch-shaped trellises draped with a vivid red material. These move easily to suit the locales. Like she always does, costume designer Michele Friedman Siler fits the occasion with perfectly suited outfits – and ones adaptable for St. Louis summers and quick changes.

The talented technical team also includes John Wilson as both the fight and intimacy coordinator, and Colin O’Brien as the expert production manager, with Britteny Henry doing her customary efficient job as stage manager, ensuring fluid entrances and exits.

Shakespeare may have been taught in your English class, but the best way to appreciate the bard is to see his plays performed, not read. And with the touring company coming to communities and neighborhoods, the time is perfect to bring a blanket or lawn chairs, pack a picnic, and see a family-friendly 90-minute Shakespeare show. Check social media for weather updates.

Simone, Klemp and Wilkinson. Photo by Phillip Hamer.

St. Louis Shakespeare Festival’s TourCo is presenting “The Two Gentlemen of Verona” free and open to all, no tickets required, to more than 30 parks and plazas in Missouri and Illinois from Aug. 4 to Sept. 6. Performances start at 6:30 p.m. and are 90 minutes in length. Visit https://stlshakes.org/tourco/ for a complete schedule.

The cast of “The Two Gentlemen of Verona” – Sarah Wilkinson, Tristan Wallach, Bryce Miller, Otto Klemp, Jade Simone Francis and Jayson Heil. Photo by Phillip Hamer.

By Lynn Venhaus

Even the most mean-spirited holiday-hater won’t be muttering “Bah! Humbug” after sampling the jolly high-octane hip-hop musical remix of Charles Dickens’ classic because “Q Brothers Christmas Carol” will make them laugh instead.

This unique 80-minute variation makes it easy to be swept up in the merriment, a welcome antidote to the ongoing misery in a turbulent world.

With the recognizable imprimatur of the incredibly talented Q Brothers Collective, those unconventional creatives from the Chicago Shakespeare Theatre, this joyous boogie beat mashes reggae, rap, and epic rock ballads together.

Dickens’ novella was published in 1843 and there have been numerous interpretations in the 180 years since, including Muppets and Disney movies, a rom com with Matthew McConaughey, and musical comedy with Will Ferrell and Ryan Reynolds, not to mention TV shows and specials, and countless stage versions.

This modern madcap romp is a special presentation by the St. Louis Shakespeare Festival in a festively decorated nook of the National Blues Museum downtown. Performances take place from Wednesday through Saturday at 8 p.m. and Saturday at 3 p.m. too, from Nov. 24 to Dec. 23.

Written and directed by GQ, JQ, Jax and Pos of the Q Brothers Collective, they proclaim they make art that rhymes, and they are not slackers in that department, following through with impressively snappy lyrics. Not a ninny-muggins among them.

They bring the same level of rat-a-tat-tat quick-change artistry that characterized their two-hander “Dress the Part” here in the Grove in early 2020. That was locally produced by the Shakespeare fest folks and won several St. Louis Theater Circle Awards when we resumed honoring regional theater post-pandemic in 2022.

If you attended that show, then you know you are in for a special treat.

This don’t-miss variation was developed with Rick Boyton and the music composition is by JQ. It’s such a spirited blend of dance, dubstep, and DJ-spun beats that it has become a holiday tradition on Chicago’s Navy Pier.

Photo by Phillip Hamer.

Spreading goodwill with the rhythms and rhymes, the cast includes Victor Musoni as Jacob Marley, Lil Tim and others; Maya Vinice Prentiss as Bob Cratchit, Ghosts of Past and Present, and others; and Mo Shipley as Oliver, Fred, and others.

Garrett Young, memorable in the aforementioned “Dress the Part,” feigns crotchety as a scowling Scrooge (who can remarkably bust a move). The fleet-footed quartet seem to be in constant motion and grooves in sync to Steph Paul’s kinetic choreography. Perhaps you recall her outstanding designed movements in “The Royale” at the Repertory Theatre of St. Louis in 2017. Mel Bady keeps the jingle jangling as DJ Stank.

The performers are all superb entertainers, with crisp comic timing and engaging personalities. As nimble as a skilled improvisational troupe, you’ll marvel at their energy.

The story follows the familiar tropes of Dickens’ story about a horribly selfish, mean jerk who is redeemed after visits from four ghosts enlighten him on the error of his ways. This script leans into the humor and the heart to connect with an eager-for-adventure crowd.

A delightful surprise is that this supple presentation includes many references to contemporary Christmas movies, songs, and pop culture shorthand. They might not pull out a Red Ryder BB gun, but someone’s tongue is going to wind up on a frozen pole.

The sparkly scenic design by William Attaway is evocative of the Dickensian settings, enhanced by lighting designer Jesse Klug’s moody illumination. Costume designer Erika McClellan, a St. Louis native, has fashioned outfits more street savvy than Victorian era. And Stephen Ptacek’s expert sound design keeps the flow percolating.

Stage Manager Kathryn Ballard, who worked on “Dress the Part,” and assistant Patrick Siler are veterans who know how to keep things fluid, and there isn’t a minute wasted, no draggy middle whatsoever. The show runs without an intermission.

The engaging troupe exudes warmth and a playful attitude. However, if you’re seeking an old-fashioned family-friendly cup of cozy Hallmark comfort, this show is not that. Nor will any phrase be needlepointed onto a throw pillow. The material includes mature themes and adult language, so it’s best enjoyed by ages 12 and up.

For more information, tips on parking and what seasonal cocktails are available at the pop-up bar Club Fezzy: https://stlshakes.org/production/carol.