By Lynn Venhaus

A saucy, sultry and soulful trio of supremely talented women take us on their rocky road of hard-fought life lessons in a stylishly framed musical “Blues in the Night.” They sure have earned the right to sing the blues, and the Black Rep’s polished gem of a show is evocative of divine romance and the light that breaks through after darkness.

The enchanting Adrianna Jones as “The Woman,” Amber Alexandria Rose as “The Girl,’ and De-Rance Blaylock as “The Lady” conjure up past lives of sorrows, heartbreak and triumphs as they take us through an appealing catalogue of 27 classic blues and jazz songs.

In their skilled delivery, while projecting attitude and emotion, they bring those experiences to life with a vitality that’s mesmerizing. These songs may have been written in days gone by, but there is a freshness because the numbers are presented with a vibrancy and good nature.

The time is the 1930s and the place is Chicago. And we are swept away to an era immortalized in music and movies. I can see/hear images of Duke Ellington, Bessie Smith, Louie Armstrong and Ella Fitzgerald.

The women get to shine in solos – think of their voices as the luxurious textures of silk, satin and velvet.

De-Rance Blaylock as “The Lady.” Photo by Keshon Campbell.

As the eldest woman “The Lady,” Blaylock, who won the St. Louis Theater Circle Award for Best Performance in a Musical, Female or Non-Binary Role, last year for “Caroline, or Change,” imbues Bessie Smith’s dramatic standards “New Orleans Hop Scop Blues,” “Dirty No-Gooder’s Blues” and “Wasted Life Blues” with grit, then is playful in “Take Me for a Buggy Ride” and “Kitchen Man.” She’s sorrowful in Billie Holiday’s “Lover Man.”

As “The Woman” in her prime, Jones makes a memorable Black Rep debut, swinging in the famous Benny Goodman song named after the famous Harlem nightspot, “Stompin’ at the Savoy,” and Billy Strayhorn’s jazz standard “Lush Life.” She’s longing – and assertive –in “Rough and Ready Man.”

As the youngest “The Girl,” Amber Alexandria Rose is already a veteran of multiple musicals produced at The Black Rep and was part of the noteworthy Fisk Jubilee Singers at the Tennessee university. She’s dynamic in the Big Band favorite “Taking a Chance on Love,” “Willow Weep for Me” and “Reckless Blues.” Jones and Rose duet in the great torch song “When Your Lover Is Gone.”

However, the women aren’t the only ones adding sass and class to the show. As “The Man,” J Samuel Davis displays a remarkable gift for singing – who knew? (I mean he’s one of our finest dramatic actors, but an accomplished vocalist? Heck, yeah! More, please).

J Samuel Davis as “The Man.” Photo by Keshon Campbell.

Well, he gets to play the cad, the guy who done them wrong, but also a fellow with considerable charm. He opens with a rousing “T-Bone Walker’s “The Blues Is a Woman” and has fun with Louie Armstrong’s “I’m Just a Lucky So-and-So” and “Wild Women Don’t Have No Blues.” Davis is a two-time St. Louis Theater Circle Award winner, for performances in “Bashir Lazhar” at Upstream Theater and “District Merchants” at New Jewish Theatre. He’s recently been seen in “Cat on a Hot Tin Roof” at the Tennessee Williams Festival St. Louis and in The Black Rep’s “King Hedley II.”

A tight quintet of superb musicians makes the magic happen, with music director Khalid McGee giving the piano a mighty fine workout, along with Willem von Hombracht on bass, Brady Lewis on trumpet, Stan Coleman on reeds and Bernard Long Jr. on drums smoothly jiving, wailing and scorching the compositions.

The original vocal arrangements were by Chapman Roberts, with orchestrations and additional vocal arrangements by Sy Johnson. It’s a satiny-smooth trip through the best representations of the genre.

Their second act opening jam session to “Wild Women Don’t Get the Blues” gets the joint a jumping, while their Exit Music at the show’s end is enough to keep you in your seats. What a delight they are to listen to all evening. And special shout-out to sound designer Justin Schmitz on his outstanding work.

The way the set is structured, with Davis often presiding over a bar, you feel like the musicians are masters of their destination nightclub, and you feel part of a very ‘inside’ cool experience.

Adrianna Jones as “The Girl.” Photo by Keshon Campbell

The women are placed in individual rooms that appear to be the same floor of a hotel — each of various ages and different reasons to be home alone.

Scenic designer Jamie Bullins’ attention to detail is admirable and sets a terrific nostalgic tone, which is carried through by prop designer Mikhail Lynn.

Travis Richardson’s lighting design enhances those spaces and adds so much to the shifting moods.  It feels elegant despite hearing tales of woe (but often resilience and strength, too).

Director Ron Himes has enlivened this show – part jukebox musical, part revue and totally entertaining with a breezy staging that also offers comfort, joy and inspiration.

Sheldon Epps, well-known for his work as artistic director at the Pasadena Playhouse, earned Tony nominations and much acclaim for his musical on Duke Ellington called “Play On!” He then conceived and put together “Blues in the Night,” which opened off-Broadway in 1980 before it moved to Broadway in 1982. It was nominated for a Tony as best musical but mostly (inexplicably) has had short runs.

 It deserves to be noticed, for its depth of material and sharp execution are worth seeing because of the band’s rhythms and the cast’s vocal power and emotional intensity. It results in a charming evening of good tunes, sumptuous vocals and a fun atmosphere.

Amber Alexandria Rose as “The Girl.” Photo by Keshon Campbell.

The company’s group numbers showcase their abilities to harmonize beautifully, with “It Makes My Love Come Down” and a feisty “Take It All Back” wrapping up the first act.

Decked out in shades of blue, the women coming out swinging in the second act with “Blues in the Night,” followed by stellar renditions of “When A Woman Loves a Man” and “Am I Blue?” and a wistful “Nobody Knows You When You’re Down and Out” with the entire company.

After baring their souls and singing their hearts out, the women present a moving “I Gotta Right to Sing the Blues,” the well-known Harold Arlen standard, before the “Four Walls Blues” encore/finale.

Heather Beal’s light touch on choreography is well-suited to this show, and the characters. For the most movements, the women sashay, the man struts, and any dance is attuned to the times.

Gregory J. Horton’s gorgeous selection of vintage formal attire, cocktail dresses, and loungewear provides a sumptuous assortment of fabrics and styles ideally representing time periods and happenings.

The Women. Photo by Keshon Campbell.

Tracy Holliway-Wiggins is the stage manager with Daija Jones as assistant stage manager.

The blues provide a universal language into the soul, and the Black Rep has splendidly guided us through a pleasurable excursion into the urban blues of Chicago and a post-Great Depression America.

Photo by Keshon Campbell.

The Black Rep presents the musical “Blues in the Night” Sept. 4 through Sept. 29 at the Edison Theatre on the Washington University campus. Performances are at 7 p.m. Wednesday and Thursday, 8 p.m. Friday and Saturday, and 3 p.m. Sunday. The show is recommended for mature audiences ages 14 and up. Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more. For more information: www.theblackrep.org.

The St. Louis Black Repertory Company announces the full cast and crew for Sheldon Epps’ BLUES IN THE NIGHT, directed by Founder and Producing Director Ron Himes, with musical director Khalid McGhee. The production opens the 48th Anniversary Season on Friday, September 6, 2024 (with previews September 4-5) through Sunday September 22, 2024  at The Edison Theatre on the campus of Washington University in St. Louis. It is presented with support from Washington University and the Mid- America Arts Alliance.

A dynamic Tony-nominated musical review showcases the universal language of The Blues. Set in 1930s Chicago, the audience is immersed in the stories of three women, told through the music of Bessie Smith, Duke Ellington, Johnny Mercer, Harold Arlen, and many more.

At The Black Rep, the ensemble cast features Adrianna Jones (TBR Debut), Amber Rose (CROSSING OVER, CROWNS, DON’T BOTHER ME I CAN’T COPE), De-Rance Blaylock (TBR Debut), J. Samuel Davis (KING HEDLEY II, CROSSING OVER, TELL ME SOMETHING GOOD, AIN’T MISBEHAVIN’, THE WIZ).

Directed by Ron Himes with Musical Director Khalid McGhee, Scenic Design by Jamie Bullins, Costume Design by Greg J. Horton, Sound Design by Justin Schmitz, Lighting Design by Travis Richardson, and Props Design by Mikhail Lynn. Tracy Holliway-Wiggins is the Stage Manager with Daija Jones as Assistant Stage Manager.

Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more. Recommended for mature audiences ages 14 and up.

Support for The Black Rep’s 48th Main Stage Season comes from The Berges Family Foundation, Caleres, Missouri Arts Council, the Regional Arts Commission, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis.

The season, announced in mid-July, includes an August Wilson classic, iconic musical and two world premieres.

The 48th Annual Mainstage Season

The St. Louis Black Repertory Company celebrates its 48th main stage season with five compelling works showcasing pivotal moments in the African American experience.

“We’re delighted to be producing the exceptional world premieres of “The Wash” and “Coconut Cake,” said Founder and Producing Director Ron Himes. “Audiences will be captivated by the music that unfolds in “Blues in the Night” and it feels truly timely to be closing out the season with August Wilson’s “Radio Golf,” marking the second time we have produced Wilson’s entire iconic American Century Cycle.“

Sept 4-22, 2024: Blues in the Night, by Sheldon Epps. In the Edison Theatre, Washington University in St. Louis.

This dynamite, dramatic Tony-nominated musical revue thrills audiences with the universal language of the Blues. With little spoken text, interweaving stories of three women are defined through songs that cover the range of the blues from Bessie Smith to Duke Ellington, Johnny Mercer, Harold Arlen, Alberta Hunter, Jimmy Cox, Ida Cox, and more, telling of the pain and misery of life and love — and also of the dogged determination to get through it all — that is the essence of the Blues.

Jan 8-25, 2025: CHICKEN & BISCUITS, By Douglas Lyons. In the Edison Theatre, Washington University in St. Louis.

When the Jenkins family comes together to celebrate the life of their patriarch, rivaling sisters Baneatta and Beverly face a shocking family secret which will either bind them or break them. Who knew a funeral could spark so much laughter? A portrait of family love and commitment, the comedy opened in 2020 at the Queens Theatre in the Park and its 2021 Broadway run was cut short due to the pandemic.

ROLLING WORLD PREMIERE February 5-March 2, 2025: COCONUT CAKE By Melda Beaty. In the Hotchner Theatre, Washington University in St. Louis.

For some, there’s nothing better than retirement, but when Eddie Lee’s wife joins him in retirement, the truth about his “ladies’ man” ways resurface. Eddie retreats to the sanctuary of a McDonald’s where a game of chess teaches life lessons and the rest of his retired friends, with marital problems of their own, wait faithfully for him. The arrival of two mystery women, with daddy issues, medicine cabinet secrets, and melt-in-your-mouth coconut cake, tests their friendship and changes their lives forever. Presented with support from the National Black Theatre Festival’s Sylvia Sprinkle-Hamlin Rolling World Premiere Award.

A NATIONAL NEW PLAY NETWORK ROLLING WORLD PREMIERE March 12-30, 2025: THE WASH, By Kelundra Smith. In The Berges Theatre, COCA-Center of Creative Arts.

Black laundresses took to the streets in 1881 Atlanta leading a strike just weeks before the International Cotton Exposition came to town. Demanding $1/week, the Atlanta Washerwoman’s Strike was the first successful interracial, organized labor strike of the post-Civil War era. Smith’s play offers an intimate and often humorous look at ordinary women who went from workers to fighters– and won. Presented as part of a National New Play Network Rolling World Premiere.

May 14-June 1, 2025, RADIO GOLF, By August Wilson. In the Edison Theatre, Washington University in St. Louis.

Set in Pittsburgh in the late 1990s, it’s the story of a successful entrepreneur who aspires to become the city’s first Black mayor. But when the past begins to catch up with him, secrets get revealed that could be his undoing. The most contemporary of all of August Wilson’s work, Radio Golf is the final play in his unprecedented ten-play American Century Cycle. This bittersweet drama of assimilation and alienation in 90s America traces the forces of change on a neighborhood and its people caught between history and the 21st century.

Each of The Black Rep’s main stage productions feature an Intergenerational Matinee Series that creates access to students from area schools and seniors from residential communities to offer the experience of live theatre at a subsidized ticket price. Select performances also include a post-show talk-back creating a forum for lively relevant discussions.

About The Black Rep

The Black Rep, a 48-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of opportunities and resources for Black professionals and students in the theatre; improved representation on and back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will follow. For more information: www.theblackrep.org

By Lynn Venhaus

Avarice, malice and mendacity. Those words that Tennessee Williams used so eloquently to imply grown-ups behaving badly in “Cat on a Hot Tin Roof” demonstrate his brilliant command of the English language. His way with words, referred to as “poetic realism,” is always the most enduring part of his staged plays.

“Living with someone you love can be lonelier than living entirely alone if the one you love doesn’t love you,” says Margaret, aka Maggie the “Cat.”

And thus, Williams struck an abundant gold vein with his reflections on loss and longing, and how we cling to illusions to survive.

In a delectable story of big drama, big money and big lies, Williams has tightly woven a web of deceit, a Southern Gothic excursion into an American dysfunctional family, 1950s style.

At the plantation home of cotton tycoon Big Daddy (Peter Mayer), the Pollitt family is gathered for his 65th birthday celebration. He and his wife, Big Mama (Kari Ely), think he’s free of cancer but the real diagnosis is dire. Things unravel from there, with secrets and revelations in rapid succession over the course of an evening.

The mood is a seething, simmering stew of sexual desire, spurned affection, power trips, greed, toxic relationships and lies they tell each other.

One of Williams’ most popular works, “Cat on a Hot Tin Roof” won the Pulitzer Prize for Drama in 1955 and has received multiple revivals on Broadway over the years, including a 2013 staging with Scarlett Johansson as Maggie, and a 1990 version with Kathleen Turner.

Times change, rendering some of his subjects quaint and old-fashioned, but his characters always make a lasting impression even when the social mores he highlights are no longer as consequential or controversial. With his unmistakable vivid writing, he captures a specific time and place like few have.

Williams turned his short story, “Three Players of a Summer Game,” into this classic gem, which supposedly was his personal favorite. The play was adapted into a 1958 film starring Elizabeth Taylor and Paul Newman that earned six Oscar nominations including Best Picture. Granted, they cast a big shadow.

Photo by Suzy Gorman.

In a unique approach by director Michael Wilson, the narrative unfolds as a deliberately theatrical setting.

He has created a prologue where local treasure J. Samuel Davis appears in the audience as “The Writer,” telling of a young Tom “Tennessee” Williams’ early years working at the International Shoe Company in St. Louis and taking the ‘stairs to the roof’ (the name of his first play) to write his short stories.

The ensemble, dressed in black as stagehands, brings the set pieces on stage, and the play begins as they return as the troubled Pollitts.

Not that I know this for certain, but Wilson appeared to pay homage to the way Williams worked with his longtime director-collaborator Elia Kazan, in what they described as “plastic theatre,” in which they heightened awareness of events to open the audience to more abstract ideas.

James Wolk’s evocative set seems dream-like on the fringes, and nightmarish in the claustrophobic bedroom. Williams did allude to ghosts, and people who lived there before – as evident in a hanging portrait. Lighting designer Matt McCarthy adds to the ethereal mood.

The epochal Maggie is a smart, scrappy, stunningly beautiful debutante who grew up poor and married into a family of money. She has been hardened by the in-laws’ power-grabbing chess games, but she has learned to swim in a sea of sharks and will fight for what she thinks she deserves.

Her handsome all-American football hero husband Brick has decayed into a numb alcoholic who doesn’t care about anyone or anything.

Reeling from his best friend Skipper’s suicide, Brick is consumed by despair, regrets and rumors. He appears repulsed by his wife, which seems to aggravate her desire for attention. His busybody family knows every detail of the childless couple’s personal life – or think they do.

Photo by Suzy Gorman.

In a long scene that establishes their marital discord, Maggie prattles on, trying to engage her distant husband in conversation, but we can tell this is going to be a fruitless attempt. Resembling a young Natalie Wood (who starred in Williams’ film adaptation “This Property Is Condemned), actress Kiah McKirnan rushed through her opening lines and was difficult to understand.

However, she gets more forceful in acts two and three as tension mounts, and she needs to make her moves to secure her future.

Wearing the provocative iconic white satin slip recreated by costume designer Teresa Doggett, and moving gracefully, McKirnan appears to be the archetypal Maggie.

Slaten’s Brick doesn’t say much or move like a former athlete, but with a broken ankle and one crutch, he capably navigates the bed-sitting room, his hobbled body betraying him, and his pain palpable.

His outbursts are well-timed for maximum impact. This is a difficult role because of calibrating external and internal conflicts, and while Slaten doesn’t look like the stereotypical golden boy turned disappointment, he delivers the intensity.

Once upon a time, the couple must have been like the idealized bride and groom figurines on top of a wedding cake. But those days are long gone – and they both realize it, which tinges this play with sadness.

When Mayer arrives on stage as the bombastic Big Daddy, the show kicks into high gear. He throws his whole body into this role with impressive gusto. The interactions between the blustery braggart and his favorite son are the best in this production, and his profane rants against family members are welcome comic relief.

Surprisingly, he has tender advice for Brick: “One thing you can grow on a big place like this more important than cotton—is tolerance—I have grown it.” There appears to be real affection between the two.

Slaten and Mayer. Photo by Suzy Gorman

Mayer is matched in intensity by Kari Ely as Big Mama, adding more emotional depth than the role is written. It’s a pleasure to see such local legends play off each other on stage – as they are married in real life.

Ely, who has been unforgettable as tough women Martha in “Who’s Afraid of Virginia Woolf?”, Regina in “The Little Foxes,” and Violet in “August: Osage County,” all at the St. Louis Actors’ Studio, makes this role her own, bringing out the heartbreak and strength of a character that had been easily dismissed before. Their performances are the chef’s kiss of this production, and set the rhythm in motion.

Eric Dean White, whose consistent professionalism makes him a terrific addition to any local stage, is superb as the calculating, scheming Gooper, a slick lawyer who tag teams with his devious wife Mae, aka “Sister Woman,” to block out his brother Brick and Maggie from inheriting Big Daddy’s massive estate. His delivery is smooth and shrewd.

Roxanne Wellington nails the vindictive and insincere opportunist Mae, conveying an ugly sanctimonious streak. She must get this crack in: “He never carried a thing in his life but a football and a highball,” adding a fake laugh.

They are the indulgent parents of the notorious “no-neck monsters” that get on Maggie’s last nerve. Youngsters Kate Koppel, Tatum Wilson, and Cooper Scheessele are lively in their portrayals of three of their five children (and one is on the way).

Maggie displays some humor too, retorting: “Dixie, Trixie, Buster, Sonny, Polly! —sounds like four dogs and a parrot … animal acts at a circus.”

Photo by Suzy Gorman

Davis returns as a doctor and a minister in supporting roles.

Wilson, who is reverent regarding Williams, directed the acclaimed Cicely Tyson-starring “The Trip to Bountiful” on Broadway in 2013, and the subsequent film a year later. He benefits from a potent ensemble who understands the defining message is that people are better together than apart.

Unfortunately, in a play that talks so much about communication, the Grandel’s sound system was a hindrance on the left side, so I recommend sitting right or center. None of the performers are wearing microphones in that small thrust stage space. Sitting on the left side, in the seventh row, on opening night, I had difficulty hearing, especially because the cast is often staged in profile.

The sound issues have happened before at The Grandel, as a production of “Kinky Boots” last summer by Tesseract Theatre Company, was marred. This is always a shame because obviously much attention went into the production details. Perhaps sound designer Phillip Evans can crack the code.

In a conscientious retelling of one of Williams’ best works that emphasizes his compassion for misfits and fragile souls, we are reminded of his impact on storytelling and our broader view of the world.

In their ninth year, the Tennessee Williams Festival St. Louis furthers their commitment to celebrate the artistry and influence of the playwright who called St. Louis home during his formative years.

Photo by Suzy Gorman

The Tennessee Williams Festival St. Louis presents “Cat on a Hot Tin Roof” from Aug. 8 to Aug. 18 at The Grandel Theatre in Grand Center, with performances at 7 p.m. Thursday through Saturday, and Sunday matinees at 3 p.m. Tickets are on sale through Metrotix. Additional information and Festival event details can be found at twstl.org.

Post-show commentary will be conducted by Resident Scholar, Tom Mitchell, on Sunday, Aug. 12 and Thursday Aug.15.

Parking: Guest parking is available at the Fox Garage for $5 (3637 Washington Ave, St. Louis, MO 63108). Please, tell the attendant you are with the Tennessee Williams Festival to receive a discount.

By Lynn Venhaus

Overflowing with cheer and kindness, “It’s a Wonderful Life: A Live Radio Play” is as comforting as a mug of hot cocoa and as heartwarming as the cherished 1946 film.

Festively decorated inside and out for the holidays, The Repertory Theatre of St. Louis is the bearer of glad tidings with this crisp and polished production, an announced substitution for the previously scheduled “A Christmas Carol,” which had been presented in 2021 and 2022.

But this was more than a performance – it was a change in direction and a celebration of community. The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million by year’s end to continue the 57-year-old regional professional theater in the new year.

A Dec. 17 benefit, an online auction, and other fundraising efforts are being promoted, and this production is the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke.

They have added some ‘zhuzh’ to the welcoming atmosphere. Company Manager Michael D. Ward donated for the decoration, design and setup of the interior and exterior, and collaborated with the front of house staff to set those charming scenes.

Besides the merry mood, opening night also was a statement. You could feel the goodwill from the audience, and in the lobby afterwards, where trays of chocolate chip cookies were placed, and people snapped photos near the John Goodman cardboard cut-out. Goodman, the world-renowned actor who is a hometown treasure, will headline the Dec. 17 benefit.

Photo by Jon Gitchoff

Everything about this show gleamed – the company of all local performers’ glee was palpable and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.

This play-within-a-play is a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.

This version was first produced last year by the Alabama Shakespeare Festival, whose artistic director Rick Dildine was previously affiliated with the St. Louis Shakespeare Festival. And The Rep is producing this show in association with ASF and is made possible in part by the support of The Berges Family Foundation. 

Kate Bergstrom has directed both, displaying a deft touch for staging the action for optimum viewing and maximum ‘feels.’ Stage Managers Emilee Buchheit and Anna Baranski energetically stage-managed the show to keep the 2-hour show running smooth.

The ensemble shines – in individual roles and as a collective in the workplace. Anchoring the show is Michael James Reed, playing actor Jake Laurents, who is also a military officer serving in World War II. He’s a terrific George Bailey, conveying the distress of a man whose faith and hope has been eroded, but also a caring neighbor and friend in his daily interactions.

Melissa Harlow, Michael James Reed. Photo by Jon Gitchoff

Laurents/Reed plays a family man and banker whose life in Bedford Falls is not what he had imagined for himself, but circumstances led to him to bloom where he was planted.

As problems mount up, and he wishes he had never been born, it’s up to his guardian angel, Clarence, to show him what the town would have been like without him — and the many good deeds he has accomplished.

Upon closer observation, the source material is quite dark — a man is desperate, ready to throw in the towel, feeling as if he’s failed. But looking back at the impact his life has made is a beautiful observation about connection. And we can all relate.

For the screenplay, movie director Frank Capra, three-time Oscar winner (“It Happened One Night,” “Mr. Deeds Goes to Town,” and “You Can’t Take It with You”) collaborated with married screenwriting duo Frances Goodrich and Albert Hackett, Oscar-nominated for “The Thin Man” and “Father of the Bride,” among their filmographies.

Their source was a 1943 short story, “The Greatest Gift,” written by Philip Van Doren Stern, which was inspired by Dickens’ “A Christmas Carol.”

Daisy Held as a Sound Engineer. Photo by Jon Gitchoff

The movie, while earning five Oscar nominations in 1947, including Best Picture (lost to “The Best Years of Our Lives”) and another for Capra and James Stewart, was a box office flop and critics were lukewarm. It wasn’t until 1977, when its copyright lapsed and broadcasters were able to show it royalty-free, that it gained a following. Now it’s a perennial.

Today, no matter how many Christmas movies Hallmark churns out, “It’s a Wonderful Life” continues to top lists of favorite holiday movies. The Rep’s production reinforces why everyone loves it. Besides, who doesn’t want to believe in guardian angels?

The talent-rich 10-person ensemble is dialed in, seamlessly working together as radio employees and actors conveying the Bedford Falls denizens. Three are St. Louis Theater Circle winners (Michael James Reed, Eric Dean White and double-winner J Samuel Davis).

It’s fun to experience that part of America’s past, when a physical radio was an essential part of everyday life and the dominant home entertainment during the 1930s and 1940s. You’ve seen these settings in old-time movies and TV, and scenic designer An-Lin Dauber has recreated a vibrant studio where you can see — and hear — the sound engineers make the magic.

Eric Dean White, J Samuel Davis. Photo by Jon Gitchoff

With his mellifluous voice, Eric Dean White strikes a pleasant tone as a seasoned radio announcer. He’s amusing when he delivers commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and others – delighting the audience.

DeAnte Bryant is a charmer as Harry Heywood, who is humorous, caring and concerned as the lovable Clarence, who has waited 200 years to get his wings. The brilliant local actor J. Samuel Davis is Dr. Richard Ross, doubling roles — compassionate as St. Joseph and conniving as greedy Mr. Potter, the corrupt power-hungry kingpin often stopped in his chicanery by George.

Melissa Harlow is actress Sally Applewhite who plays good-natured Mary, who eventually marries George and raises a family. Carmen Garcia is the sweet Rosa Ramos, who is playing both George’s kind mother and Mary’s busybody mom. Their fashionable frocks are part of Dauber’s vintage costume design, with Jordan Fell associate costume designer.

Smartly dressed in tailored attire as ‘career girls’ are Aria Maholchic who plays spirited actress Lana Sherwood, Jailyn Genese as the efficient Stage Manager and Daisy Held as the Sound Engineer.

The biggest crowd-pleaser was winsome TJ Staten Jr., stealing scenes as Lead Songbird and Sound Engineer. Making his debut at The Rep, the McCluer High School graduate, as Troy Staten, won the 2021 St. Louis Teen Talent Competition sponsored by the Fox Performing Arts Charitable Foundation.  

TJ Staten Jr. Photo by Jon Gitchoff

Lighting designer Christina Watanabe bathed the production in a poignant glow that enhanced the emotional depth, particularly when snowflakes fell. Moving from the cozy studio to the wintry town setting was an impressive transition.

The sound work was particularly noteworthy, because creating the sound effects to go across the airwaves isn’t as easy as it sounds. Special mention to Michael Costagliola as sound/foley designer and Andrew Ronver, the associate sound designer.

Another artisan helping establish the period was wig designer Dennis Milam Bensie.

It wouldn’t be a holiday radio show without singing, and music director Ron McGowan helped make the season bright, leading the ensemble in snappy seasonal favorites. When it was time for “Auld Lang Syne,” the audience joyfully chimed in with the ensemble. (Was anyone else misty-eyed?)

A sincere effort to inspire, touch, and engage, “It’s a Wonderful Life: A Live Radio Play” was a dandy celebration of what should be important this time of year.

Storytelling is vital to bringing us together, and this opportunity to remind us to believe in our purpose, be mindful of what’s around us, and never lose faith in humanity is evergreen.

It is a wonderful life – and I hope you leave this show with the promise of better days ahead, even if a happy holiday is elusive.

The Repertory Theatre of St. Louis presents “It’s a Wonderful Life: A Live Radio Play” Dec. 1-23 at the Loretto-Hilton Center, Webster University, 130 Edgar Road, Webster Groves. For tickets or more information, visit www.repstl.org or call the box office at 314-968-4925.
For more information about Phase One of the fundraising campaign, visit www.rallyfortherep.org

Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling  the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time.
Audio-Described Performance: Thursday, December 21 at 7pm – the show will be described for patrons who are blind or have low vision.
ASL Performance: Saturday, December 23 at 2pm –  the show will be signed for the deaf or hard of hearing.
Open-Captioned Performance: Sunday, December 17  at 2pm – an electronic text ticker displays words being spoke or sung onstage

(And if you are hankering to watch the movie, NBC will show it Christmas Eve, the E! Entertainment Channel will show it at 4 p.m. and 7 p.m. on Dec. 20. Bravo will show it at 6:30 p.m. and 9:30 p.m. on Dec. 15. It is also streaming on Amazon Prime with a subscription.)

Photo by Jon Gitchoff

To close our first (and we hope only) virtual season, we offer another retrospective of some of our past shows that explore themes related to refuge and asylum, as well as reconciling with past injury and injustice. The video will open on YouTube, FridayJune 18 at 8 PM and follow our usual show schedule.

.WATCH OUR BRIEF TEASER ANYTIME! https://www.youtube.com/watch?v=_R7ypzUMaOs

Once again we reached out to a number of actors, directors, designers and even a critic (!) — and we hope this foray behind the scenes conveys how grateful we are to have so many talented professionals in our collective.

To view the actual video please use the link below:

REFUGE AND RECONCILIATION

https://www.youtube.com/watch?v=xgwAywfT0Nw


(starts at 8PM) June 18 – 20 June 24 – 27July 1- 4

Contributors include: Steve Callahan, Eric J. Conners, J. Samuel Davis, Kareem Deanes, Shanara Gabrielle, Laura Hanson, David A. N. Jackson, Erin Kelley, Amy Loui, Peter Mayer, Brian McClelland, Scott Neale, Jane Paradise, Mona Sabau, Patrick Siler, Bonnie Taylor, Lisa Tejero, Jaqueline Thompson, and Magan Wiles.

The St. Louis Shakespeare Festival is pleased to welcome back audiences for a new season of free Shakespeare productions in 2021, beginning with the return to Shakespeare Glen in Forest Park with King Lear. 

The Festival is committed to preserving the health of our staff, actors, and audience and will share complete safety precautions closer to performance dates in compliance with the guidelines of health officials.

The 21st season of outdoor performances starting with KING LEAR starring André De Shields in Shakespeare Glen, a new 24-stop touring production of OTHELLO and the return of Shakespeare in the Streets in the historic North St. Louis neighborhood of THE VILLE.

On May 3, the company of 18 talented (and fully vaccinated) actors will come together in St. Louis for the first rehearsal of King Lear under Director Carl Cofield. Get to know their names and faces. 

This is the 2021 Shakespeare in the Park cast: 

André De Shields (King Lear), Rayme Cornell (Goneril), J. Samuel Davis (Kent), Leland Fowler (Edmund) Allen Gilmore (Fool), Nicole King (Cordelia), Jason Little (Albany), Daniel Molina  (Edgar), Carl Overly, Jr. (Cornwall), Michael Tran (Oswald/France), Jacqueline Thompson (Regan) and Brian Anthony Wilson (Gloucester). With support from Atum Jones and the St. Louis Black Rep Intern Company: Kentrell Jamison, Theorri London, Brian McKinley, Tyler White and Christina Yancy.   

Reservations for King Lear will open on May 2!  Stay tuned for more information on how to attend. The opening show of the 21st season will run June 2 – June 27.

KING LEAR

Shakespeare Glen, Forest Park June 2-27
Tony, Emmy and Grammy Award-winner André De Shields (Broadway: HadestownThe Wiz) stars in Shakespeare’s greatest — and most modern — masterpiece.

Carl Cofield (Associate Artistic Director, Classical Theatre of Harlem) directs an all-BIPOC cast from New York, Chicago and St. Louis.


OTHELLO Aug. 3 -29

TourCo presents 24 performances in Missouri & Illinois
Our new outdoor touring troupe visits public parks across the bi-state region. A Living Study Guide before each performance explores the themes and modern impact of Othello — Shakespeare’s gripping tragedy of jealousy, race and resentment.


SHAKESPEARE IN THE STREETS: THE VILLE Sept. 9-11

Annie Malone Children’s Home, 63133

After an extended storytelling residency, Shakespeare in the Streets returns with a new play based on Shakespeare and inspired by the Ville neighborhood, one of the most historically significant Black communities in America.