By Lynn Venhaus

With its energetic and appealing cast of six, and its earnest mission from a buzzy contemporary playwright, “Welcome to Arroyo’s” is a fine example of Tesseract Theatre Company’s commitment to fresh voices and perspectives.

It was written when the promising storyteller Kristoffer Diaz was in college but produced after his acclaimed 2009 play “The Elaborate Entrance of Chad Diety” was a finalist for the Pulitzer Prize for Drama. Diaz incorporated an American Dream theme in this dramatic comedy about the wrestler Macedonio Guerra, and it also won the Obie Award for Best New American Play in 2011.

Here, Diaz focuses on dreams, stressing community and touching on family, art, grief, loss, and his Latino culture.

Underscored with a lively hip-hop beat, “Welcome to Arroyo’s” is set on New York City’s Lower East Side in 2004. Victor Mendez portrays with conviction the industrious Alejandro Arroyo, whose dream is to convert the space where his late mother ran a bodega/deli for 20 years into a neighborhood bar/lounge that could become a cultural hot spot, but so far, not going so well.

The hard-working Al is at odds with his younger sister Amalia, aka Molly, who is full of anger and rebellion, and spray-paints graffiti outside the 7th precinct police station. Remi Mark conveys her character’s agitation and how mad at the world she is.

She courts trouble, he wants a better life. They are both dealing with the loss of their mother and will meet people who result in changes in direction for them.

Her unexpected love interest? Derek, a rookie police officer who recently moved to the area. He’s nice to her when she is mean to him, and Marshall Jennings is effective playing the concerned guy trying to understand her.

Al’s romantic attraction is to Lelly, a quirky college student tracing the history of a Puerto Rican woman that played a big part in hip-hop music. Could their mother have been one of its founders? Based on her research, Lelly seems to think that 20 years ago, she was the first female hip-hop DJ. Hannah de Oliveira brings out Lelly’s passion for her work.

Two DJs, Nelson and Trip, are Alejandro’s pals who hang out at the bar, and act as narrators sharing this fangirl theory, tying it all together. Kevin Corpuz (Nelson) and Jacob Schmidt (Trip) are the high-spirited rappers devoted to getting the party started, and they succeed in engaging audience members, who are eager to follow their direction. Corpuz’ enthusiasm is always contagious, and their contributions are easily the most relatable aspect of the show.

While heartfelt, Diaz’s play, however, seems incomplete, and the characters aren’t as developed as they could be for us to really care about them and be drawn into the scenario.

Nevertheless, director Brittanie Gunn worked well with an exuberant cast of four men and two women who give their all to pull us into the narrative. There is much goodwill here for what they are trying to accomplish with this show and the people involved.

The main problem with staging at the .Zack is its challenging acoustics, which have been problematic since it opened, some more pronounced than others. On the plus side, Corpuz and Schmidt have individual microphones, and Mark is loud as Molly, but de Oliveira is, at times, hard to hear as Lelly, although she is animated in her performance. Usually, in Tesseract’s previous shows staged there, it wasn’t an issue, but the uneven sound detracts.

Diaz appears destined to be a powerful presence in American theater. Besides writing plays, he is an academic – an associate arts professor at New York University’s Tisch School of the Arts and has worked in television.

Diaz went on to write the book for “Hercules,” the stage adaptation of the 1997 Disney film, with music by Alan Menken and lyrics by David Zippel, which was presented at The Public Theatre in 2019.

For television, Díaz adapted Jonathan Larson’s musical “Rent” into the 2019 live show on Fox and was the editor for Season 1 of “GLOW” on Netflix in 2017.

Tesseract gives this playful production a celebratory feel, and with its dedicated creatives, will likely continue its commitment to diverse talents and plays with something to say. And those are reasons to rejoice.

Tesseract Theatre Company presents “Welcome to Arroyo’s” April 28 – May 7, with performances on Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. at the .ZACK, 3224 Locust St., in Grand Center. For more information, visit the website: www.tesseracttheatre.com

This play contains adult language and themes.

Corpuz, Schmidt, Jennings

By Lynn Venhaus

What a pleasant surprise the leap of faith “Ordinary Days” is – as the inaugural musical presentation of Tesseract Theatre Company, as an original musical by Adam Gwon, as a coda to this year and as a reflective piece for our third winter of a pandemic.

An intimate, affecting sung-through musical that intersects the lives of four young New Yorkers, “Ordinary Days” resonates with its struggles, search for fulfillment and the palpable sense of yearning from the new-to-me quartet.

Discovering the vocal talents and comedic timing of Brittani O’Connell, Jacob Schmidt, Micheal Lowe, and Lauren Tenenbaum is also part of the fresh-and-fun experience.

As directed by veteran Elisabeth Wurm, the cast maneuvers like the New Yorkers they portray. There’s a certain rhythm to moving around the city, and the four performers nail the aptitude and the attitude. (Full disclosure: my youngest son has lived there since 2011, so I have visited over the years, and have observed the natives, transplants, and tourists.)

When navigating the hustle and bustle, I am often reminded of Stephen Sondheim’s lyrics to “Another Hundred People” in “Company”: “It’s a city of strangers, Some come to work, some to play… Some come to stare, some to stay And every day The ones who stay
Can find each other in the crowded streets and the guarded parks…”

Worried about their futures while still clinging to their hopes and dreams, these two pairs have found each other in a city misrepresented by a cold-hearted perception. It’s not, but you must learn survival — “If I can make it there, I can make it anywhere” is pretty much true.

Tenenbaum is Deb, a small-town girl with dreams of more, who is in grad school and misplaces a notebook crucial to her thesis. It’s found by Warren, a guileless goofy guy played by Schmidt, who is too pleasant and agreeable for his own good, for he’s one of those random guys passing out flyers on the street who is repeatedly ignored. His job is cat-sitting but he’s the proverbial struggling artist. He’s desperate to fit in – can he still be chipper when trying not to get swallowed whole by the city?

Frazzled high-strung Deb is always in a hurry, and will eventually learn to be in the moment, or else the treasured little things in life will pass her by. She thinks Warren is weird, but eventually they become good friends.

Jacob Schmidt, Lauren Tenenbaum

 The other couple is romantically linked. They have been together for a while but mulling over taking it to the next level, as Jason moves his things in to Claire’s. But something isn’t quite right. O’Connell plays Claire, whose backstory includes a 9-11 casualty, and Lowe is Jason, whose journey leads to commitment, but is Claire ready?  

Learning to appreciate the simple things of life – while feeling lonely, isolated, and out of sorts – has been a common theme during the coronavirus pandemic, which has brought a gamut of emotions to the surface since March 2020.

So, Adam Gwon’s play, written in 2008, takes place in 2005, which is important for the actions and transitions. It is a marvel of relatable key moments – Oh, youth! The 30s! – and somehow, reverberates with the same contemplations we’ve had during this pandemic era of uncertainty.

Gwon is a noteworthy talent, included in Dramatists Magazine’s “50 to Watch,” and “Ordinary Days” put him on the map. His lyrics are sharp and vibrant, have an everyman quality and universal appeal. (He also wrote the revue “Old Jews Telling Jokes,” which was presented by New Jewish Theatre in 2014.)

Tesseract’s presentation of “Ordinary Days” is a fine introduction to his music, and Music Director Zach Neumann deftly plays the keyboards and keeps the pace brisk for the singers, whose strong enunciations and interpretations really make the vivid lyrics hit home.

Schmidt sets a convivial tone with “One By One By One,” then shades his character’s personality through “Life Story” – his heart and his humor apparent.

Tenenbaum, also quirky but bursting with possibilities, explains her life to date in “Don’t Wanna Be Here” and her mojo in “Dear Professor Thompson, Part I” – continuing her funny bundle of nerves.

Deb and Warren’s meet-cute at The Metropolitan Museum of Art turns into a sweet duet “Sort of Fairy Tale” – ‘violent punctuation”! And continues with “Big Picture.”

Brittani O’Connell, Micheal Lowe

The Met figures into Claire and Jason’s relationship, but not as positive as the other pair’s.

While moving in, gifted vocalists O’Connell and Lowe explore their next-step feelings in “Let Things Go” and “The Space Between,” and go through their stuff in “I’m Trying.” They succinctly sum up a couple’s argument with a lighter humorous touch in “Fine.”

Among the most poignant is O’Connell’s “I’ll Be Here” – which should elicit leaky eyes from nearly everyone – and Lowe’s simple but so eloquent “Favorite Places.”

The hits just keep on coming — “Hundred-Story City” captures the love-hate relationship that New Yorkers have with the concrete jungle. And “Rooftop Duet/Falling” ties the show together.

Claire has realized she must let go of the past before she can move on, and O’Connell’s character arc is the deepest felt, but all performances are warm and captivating. They harmoniously come together in the stirring finale “Beautiful.”

With the focus squarely on the individuals and how they factor in with others, the set design is simple, and relies on photographs projected on the large screen – sights of living in New York City. (NYC always feels familiar because we’ve seen it so many times in entertainment.)

If you feel that you have taken away from our recent 21st century life-and-death experience the importance of connection, like I have, then this timely and charming reminder to appreciate beauty and joy in our lives, no matter how small or fleeting, delivers its heartfelt message as only live theater can.

This may be Tesseract’s first musical, but it won’t be their last, as they are planning to present the two-hander “The Last Five Years” by Jason Robert Brown in February and the Tony Award winner for Best Musical in 2013, “Kinky Boots,” later this year.

I’m liking this leap of faith Taylor Gruenloh has set his company on – and the first step is a knockout, a memorable musical for our times. Dare I say “optimistic”?

Tesseract Theatre Company presents “Ordinary Days” Nov. 18-27 on Friday at 8 p.m., Saturday at 8 p.m., and Sunday at 4 p.m. at the. Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com or at the box office before the performance. $25 for general audience and $20 for students. For more information, visit www.tesseracttheatre.com

By Lynn Venhaus
Managing Editor
Ah, Purgatory. It’s complicated. If our fate hung in the balance between a celestial playground and a worst-case scenario, how would we feel about sin and redemption?
Using Biblical passages, historical characters, street vernacular, imagined flashbacks and behavioral psychology, prodigious playwright Stephen Adly Guirgis tests our definitions of sin and grace in a bold and epic conundrum, “The Last Days of Judas Iscariot.”
Unusual, intense and penetrating — this ambitious Mustard Seed Theatre production is an extraordinary achievement for all involved. It’s tough, tender, edgy and above all, heartfelt.
In this sprawling and fiery opus, Guirgis explores a complex dynamic between Jesus and Judas that has confounded believers for centuries. We don’t know for certain, but Guirgis’ imagination is as limitless as it is meandering. He is a man bursting with ideas, concepts, philosophical musings and diatribes.
(And cursing. Lots o’ that among his nimble wordplay. Don’t bring the kids. Definitely for mature audiences).
Intimate in setting but big-picture brilliant in scope, the play is quite a winding – and witty — journey through time and space. So buckle up, the character clashes are riveting.
Guirgis, a 2015 Pulitzer Prize-winner for drama, for “Between Riverside and Crazy,” has given us so much to mull over that I felt as if I was cramming for a theology exam. Afterwards, I was exhilarated and emotionally spent. No test. (Or is it? Hmmm…).
But I also pondered how I would answer for my actions, decisions and interactions. I want to be more mindful, such is the effect of this play – it resonates spiritually and is rooted in reality. (Or maybe it’s the Catholic guilt rearing its ugly head. Never get away from it, no matter what age).
Assessing our lives is a natural by-product of this profound play. Oh, it’s alternately subtle, harsh, dark and funny — and more, throughout its nearly 3-hour runtime.
Because the drama’s heft is so daunting, director Adam Flores tackled the demands by shrewdly assembling a fearless cast, all up for the challenge.
His assistant director is Jacob Schmidt and Stage Manager Alycia Martin must have been a drill sergeant calling the show, for 27 characters come and go in a Purgatory courtroom.
Flores firmly moves the 13 actors as if he’s masterminding a chess tournament. It’s obviously a passion project, sparked by responding to the play in 2006, and arranging this leap of faith in the Fontbonne black box.
Previously, only Hot City Theatre staged it locally, and that was 12 years ago. The off-Broadway premiere at The Public in 2005 was directed by Philip Seymour Hoffman and starred Sam Rockwell as Judas, Eric Bogosian as Satan and John Ortiz as Jesus of Nazareth.
The enormous level of difficulty cannot be understated. Dramaturg Elisabeth Wurm had to make sense out of a rebel yell, full of faith and doubt, in a traditional court trial frame work. It’s thoughtful and has real depth.
Scenic designer Dunsi Dai has created a minimal set of angles and platforms, and a few symbolic nods, allowing us to visualize images suggested during the testimonies. Michael Sullivan’s lighting design enhances the post-modern atmosphere.
A defense attorney for Judas, indignant Cunningham (Courtney Bailey-Parker), argues that the disgraced disciple should not be damned for all time, that others are culpable in the greater scheme of things, while overzealous prosecutor El-Fayoumy (a dandy Carl Overly Jr.) thinks a special place in hell is just fine.
A jury will decide Judas’ fate, but not before a parade of high-profile witnesses take the stand while a cranky Judge (Chandler Spradling) presides, with a nervous bailiff (Chelsea Krenning) at his beck and bark.
Some folks are impatient, surly and obstinate about being called to testify. Just because they crossed over, doesn’t mean they shed their less appealing characteristics. Saints appear at random, offering afterlife tidbits and spouting humorous anecdotes.
Parker has a considerable amount of heavy lifting, and does not miss a beat in fervent commitment to her client. Overly is slick, cajoling and conniving.
At center is Judas, near catatonic and inconsolable. As Judas, Chris Ware projects both an innocence and a howling despair. Confused, hurt and angry, he is misinterpreted by others at every turn. He barely speaks, but when provoked, he lashes out defiantly. A sadness swells.
The leads are fierce, not intimidated by the show’s weight. While portraying multiple characters or different genders, supporting actors are integral to making it flow seamlessly. Everyone has a purpose, no matter how random it appears.
The smooth ebb and flow of the cast’s intersection is noteworthy, as each character builds upon the others — the cement between the bricks.
Performers must deliver dense dialogue, with passionate monologues tumbling out of them, emphasizing ranges of emotions coursing through their character.
The sorrow of Judas’ mother Henrietta (Carmen Garcia) opens the show. She’s in period garb. But the costumes from designer Andrea Robb bends periods, ranging from traditional to reimagined.
Later switching gears to become an angry Pontius Pilate, Garcia commands the stage with haughtiness and power, bristling at the suggestion he was to blame for Christ’s crucifixion.
The oh-so-smooth Eric Dean White brings the heat as Satan, aka Lu, oozing unctuousness and evil in his first scene. The next time, he’s a ranting megalomaniac, hurling insults, contemptuous of the process.
Those are blustery roles, meant to push buttons. Other performers shine in adrenalized vignettes, particularly the saints. Rae Davis is a delight as both Saint Monica and Simon, while FeliceSkye is laugh-out-loud funny as Saint Peter, and a character Gloria – and a hoot as Sigmund Freud.
Ariella Rovinsky presents a fresh take on Caiaphas and Mary Magdalene, while Rachel Tibbetts is a touch of Rose and a dash of Sophia in a “Golden Girls”-inspired depiction of Mother Teresa. She is also a relatable St. Thomas, stunned by his quick 180 at not being a stand-up guy when Jesus needed him.
Characters recount their beliefs and experiences, and the play becomes a multi-course meal of textures, temperatures and shared plates.
Guirgis, also an actor, appeared in Charlie Kaufman’s unwieldy film about how life works, “Synecdoche, New York,” and this piece is reminiscent in that it has much to digest, and at times, seems overwhelming. It is a long haul.
Stick with it, and you will be rewarded by two of the best moments near the end — intimate reflective exchanges that mimic a therapy session. Jesse Munoz, with a calm yet authoritative demeanor, conveys a compassionate, loving and forgiving Jesus. Graham Emmons is heartbreaking as Butch Honeywell, the jury foreman who breaks the news to a forlorn Judas. He’s compelled to pour out his remorse over self-destructive choices that haunt him forever, and Emmons – new to St. Louis stages this year – is mesmerizing.
Did we experience glimpses of heaven and hell through this erudite discourse? I think we did. Notions of what afterlife awaits us change during our lifetimes, but will forever remain an enigma, no matter how many years we’re here on earth. Simmering inferno or eternal serenity?
No questions are answered here, but plenty are raised — and that’s the point. But you’ll be thinking about the divine order of things for days. Theology students take entire semesters to explore the ideas that the playwright brings up. We had one evening.
But what a tapestry we are confronted with – through a lens of sinners and saints, friendship, free will, grief and destiny.
The New Testament version of Jesus’ final days has been interpreted different ways in popular entertainment, with Andrew Lloyd Webber and Tim Rice’s 47-year-old rock opera musical ‘Jesus Christ Superstar” now a blank canvas and Martin Scorsese’s controversial film “The Last Temptation of Christ,” just to name a few. This one’s more under the radar, but a wild ride nonetheless, and worthy of attention.
MST’s earnest, fiery effort will remain one of the year’s most impressive presentations – in its execution, creative dedication and the breadth of its sheer humanity. Your reaction might not be immediate, but this one lingers.
Mustard Seed Theatre presents “The Last Days of Judas Iscariot” from Oct. 10 – 28, Wednesday, Thursday and Saturday at 8 p.m., Sunday at 2 p.m., but no Friday, at the Fontbonne University Fine Arts Theatre, 6800 Wydown Blvd. For more information, visit: www.mustardseedtheatre.com
Ann K Photography
Eric Dean White as Satan and Chris Ware as Judas.