The Midnight Company has scheduled four shows for their MainStage 2024 season., including “Spirits to Enforce” by Mickle Maher, to be directed by Lucy Cashion and presented May 2- 18 at the Kranzberg Black Box Theatre and Harold Pinter’s “Old Times,” to be directed by Sarah Holt,” on July 11 – 27 at The Chapel.
Co-founder and artistic director Joe Hanrahan has written three short plays, ‘Auditions,” that will be presented at the St. Louis Fringe Festival Aug. 12 – 18.
Another Hanrahan original, “Now Playing Third Base for the St. Louis Cardinals… Bond, James Bond,” will be reprised Oct. 3 – 13 at the Greenfinch.
In addition to these, Midnight will continue to present Cabaret Theatre performances at The Blue Strawberry, including JACEY’S JAZZ JOINT, finishing it’s scheduled run on Wednesday, March 27, and JUST ONE LOOK, with an encore performance on April 10.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The rapacious 12th Century Plantagenet Family behaves as badly as the modern-day Roys of Manhattan and The Duttons of Montana, a rogues’ gallery of royal connivers in “The Lion in Winter.”
That’s one of the many reasons why The Midnight Company’s bracing production is fun – and riveting – to watch because sparks fly, and flames are fanned in a master class exercise in acting.
Director Tom Kopp has lit a fuse under his finely tuned ensemble so that they burn bright, crackling with big birthright energy while delivering virtuosic performances: Joe Hanrahan, Lavonne Byers, Joel Moses, John Wolbers, Ryan Lawson-Maeske, Michael Pierce and Shannon Campbell.
As the formidable ensemble tackles each aristocratic character like a predator setting a trap for his prey, they often strike a playful, comedic tone but mainly heighten the drama’s intensity because their massive ambitions collide in a winner-takes-all battle. The prize: inheriting the crown of King Henry II of England.
Multi-hyphenate award winner Joe Hanrahan plays mega-manipulator Henry with a smirk and a gleeful vitality, emphasizing his skills at being a disrupter and poster boy for “It’s Good to Be King.” He met his match with his older ‘bride,’ Eleanor, the richest and shrewdest woman in the world who bore him four sons, but they sure don’t care much for them, except as pawns in their epic face-offs.
James Goldman’s 1966 play is set at a contentious Christmastime in 1183 in a castle in Chinon, France, on land still owned by the British ruler. The classic dysfunctional family is hanging festive holly, but they are far from jolly.
That’s to be expected, with the mom – who tried to overthrow the king awhile back — about to return to prison, where she’s been kept by her husband for 10 years, and then dear old domineering dad put the three bad-tempered sons in the dungeon. His firstborn has died. Sounds – and looks like – a holiday in hell.
The wannabe kings. Photo by Joey Rumpell
With anger and resentment thick in the air and mulled wine flowing, swords are brandished and emotions erupt as conflicts ensue. You can see the wheels turning in their cunning little heads. Kopp has briskly staged the posturing, maneuvering, embracing, and shouting so that we’re kept off-guard and suspicious.
The group is tangled in one–upmanship, some more obvious than others – but it’s apparent the amount of trust and respect among the actors that allows them to have a field day with the material and each other.
One of the grand dames of St Louis regional theatre, Lavonne Byers ascends to her lofty perch as the crafty and regal queen – and in a savvy display, she doesn’t telegraph what she’s doing until it’s done, so smooth in the takeovers.
The two-time St. Louis Theater Circle winner and frequent nominee devours anyone in her path as the legendary Eleanor of Aquitane, the role that won Katharine Hepburn her third of four Academy Awards in the 1968 movie version.
As the mom-and-pop puppetmasters, Hanrahan and Byers are spirited in doing the Tango Queen as they dance around – and this battling couple actually loves one another. But as to which of their three chips off the old block will take over the kingdom is quite a game of chess.
Richard, the warrior, as in “The Lionhearted,” won’t be denied, but neither will the pre-Renaissance Machiavellian Geoffrey, bitter about being passed over, and they both are out of favor because the youngest, an immature buffoonish John, is daddy’s favorite. (Maybe because they both behave like petulant children.)
The terrific trio of Joel Moses as the steely soldier Richard, John Wolbers as sly schemer Geoffrey, and Ryan Lawson-Maeske as spoiled brat John lock into their characters seamlessly.
I’m not concerned about their characters’ ages – Richard, 26; Geoffrey, 25; and John, 16, and you don’t have to be either – it’s called acting, and they’re very good at creating full-bodied portrayals. When you have actors not usually known for playing villains in amoral roles, it’s delectable. (Also, smart choice to not have English accents).
The French kids. Photo by Joey Rumpell
Then complicating things are those testy French folks staying there, unpleasant attitudes flaring up – the young King Philip, 18, who’s been in charge for three years, and his sister, Alais, 23, who besides being a princess is supposed to be engaged to Richard but is Henry’s very young mistress. That’s another soap opera, but she may be the most ruthless of all.
Alais has been in the castle for a long time, pretty much raised by Eleanor. Strange bedfellows indeed. Shannon Campbell and Michael Pierce are strong in those roles, setting themselves apart from those high-maintenance Plantagenets but still crafty. After all, the new king is itching to go to war with England.
The creative team has delivered a vibrant staging, with stage manager Karen Pierce keeping the action from sagging. With a well-appointed set design by Brad Slavik, well-lit by lighting designer Tony Anselmo, and vintage props collected by Miriam Whatley, the look is a pleasant replica of nooks in a drafty castle. Costume designer Liz Henning demonstrates her considerable gifts outfitting the royals in impressive fabrics, textures, embroidery and finery.
A special touch is original music composed by Susan Elaine Kopp that gives it an authentic cultural “welcome to the almost Renaissance” sound.
If you like diving into history, you may enjoy finding out who succeeded Henry. Spoiler alert: the tall fighting man. But that should be its own sequel.
The Midnight Company’s invigorating production makes the past become an absorbing power play by movers and shakers that leaps off dusty pages of an Encyclopedia Brittanica. Long live the kings in a not-to-be-missed show.
The Midnight Company presents “The Lion in Winter” from Oct. 5 to Oct. 21, with performances at 8 p.m. on Thursdays, Fridays and Saturdays, and at 2 p.m. Sundays on Oct. 8 and 15 at the .Zack Theatre,
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Due to sold-out shows, The Midnight Company will present an encore presentation of YOU MADE ME LOVE YOU at The Blue Strawberry on Thursday, September 14, 7:30pm. Tickets are on sale now and can be reserved at BlueStrawberrySTL.com or by calling 314.256.1745.
YOU MADE ME LOVE YOU, written/directed by Midnight’s Artistic Director Joe Hanrahan,stars Jennelle Gilreath Owens. In the one woman show, Jennelle pays tribute to Judy Garland, telling her story and singing Judy’s greatest songs. Jennelle also reveals incidents from her own life, illustrating through Judy’s story and her own the challenges a woman faces in life and show business.
Jennelle is backed by a band led by Music Director John Gerdes (on bass), with Lea Gerdes on woodwinds, Paul Cereghino on piano, and Clarence Newell on drums. Featured guest singers,collaborating with Jennelle on some of Judy Garland’s historic duets, are Kimmie Kidd and Jeffrey Wright.
The Midnight Company continues its string of Cabaret Theatre presentations at The Blue Strawberry with two extended performances of JUST ONE LOOK on Wednesdays, August 16 and 30, 7:30. JUST ONE LOOK stars Kelly Howe as Linda Ronstadt in a rousing rendition of the life and times and spectacular music career of the singer. Also in the show is Hanrahan (who wrote/directed the show) as a veteran music industry reporter who finally gets his chance to interview his long unrequited love. The JUST ONE LOOK band is led by Music Director Curt Landes on piano, with Mark Rogers on drums/vocals and Tom Maloney on guitar/bass.
And Midnight will be introducing a new show, PROFESSOR SUNSHINE’S Traveling Post-Apocalyptic ROCK ’N ROLL REVIVAL at The Blue Strawberry, with performances on Wednesday September 20 at 7:30pm and Saturday September 23 at 8:30pm. The ROCK ’N ROLL REVIVAL is a modern version of the touring shows that roamed the Wild West. This show travels the new Wild West in a dark, burnt out world, as crumbling towns await the appearance of the show bringing with them a bit of song and temporary salvation. Hanrahan (who wrote/directed the show) will be your host, Professor Sunshine, and Kelly Howe will be Cheyenne, the show’s sultry, savory chanteuse, singing her patented version of savage, classic rock ’n roll. The House Divided Band will feature the same players as JUST ONE LOOK – Curt Landes, Mark Rogers and Tom Maloney.
Tickets for the extended JUST ONE LOOK shows and for the ROCK ’N ROLL REVIVAL are on sale now at BlueStrawberrySTL.com or by calling 314.256.1745.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Singer-actress Jennelle Gilreath Owens is an old soul. And we are fortunate to experience it in her labors of love.
For a cabaret-theater presentation this summer at the Blue Strawberry, she has assembled a personal tribute to Judy Garland –“You Made Me Love You,” and has put her heart and soul into it.
She plays herself and intertwines elements of her life’s challenges with Judy’s tough times. Judy died tragically at age 47.
The story is tinged with sadness. Yet the star’s luster doesn’t lose any power. Owens’ luminous talent and warm personality make it not just a sentimental journey, but a substantive presentation about our chosen paths. A big takeaway is how people affect us through their gifts, and how we decide to share our gifts matters.
Playwright Joe Hanrahan, artistic director of The Midnight Company, has written a script that hits the highs and lows of Garland’s career and life. He also smoothly directed the show.
“Dear Mr. Gable”
Owens starts off strong with the title song, the fan letter to Clark Gable that Garland sang at age 15 in the movie “Broadway Melody of 1938.”
A longtime fan of the acclaimed singer-actress-dancer, Owens talks about the connection that Garland had with her ardent fans. She was a much-loved star, known for her vulnerability, achingly tender, gorgeous voice, and beautiful spirit, soaring in the ‘30s and ‘40s, and trying to stay afloat in the ‘50s and ‘60s. She had man troubles, struggled with addiction, fragile mental and physical health, emotional trauma from abusive childhood, and career ups and downs.
Garland appeared in some of the most delightful movie musicals of all-time, including “Meet Me in St. Louis,” “The Harvey Girls,” “Easter Parade,” “Summer Stock,” “Girl Crazy,” “In the Good Old Summertime,” “Babes in Arms” and “The Pirate.”
Owens has selected signature songs from those and the Great American Songbook, ones that are strongly identified with Judy –including a bittersweet rendition of “Somewhere Over the Rainbow,” from her most iconic role as Dorothy Gale in “The Wizard of Oz.”
Two accomplished guest singers joined her on stage for one number each. Jeffrey Wright endearingly sang the Gene Kelly part in “For Me and My Gal,” the 1942 vaudeville-centered musical in which Kelly made his film debut, and it was a lovely pairing.
For a heartfelt mash-up finale, Kimmie Kidd-Booker wistfully sang “Happy Days Are Here Again” while Owens added “Get Happy,” replicating the famous pairing when rising star Barbra Streisand appeared on “The Judy Garland Show” in October 1963.
What a fabulous snapshot and a grand way to end the evening.
In a retrospective of Garland’s career, touching on disappointments noted in the 2019 biopic drama “Judy,” which is based on the superior play, “End of the Rainbow,” Owens mentions Judy’s two Oscar nominations, in “A Star is Born”1954 remake and “Judgment at Nuremberg” in 1961. She sings the memorable torch song Judy delivered in her Oscar-worthy role (she was robbed): “The Man That Got Away.”
Judy and Barbra
Owens’ selections ran the gamut of jaunty (“The Trolley Song” – from “Meet Me in St. Louis”), vibrant (“Come Rain or Come Shine” – from Judy’s 1961 Carnegie Hall concert), silky (“Embraceable You” from “Girl Crazy”) and haunting (Charlie Chaplin’s “Smile” – from her memorable appearance on “The Ed Sullivan Show” in 1963) – all sung with conviction.
On the small stage, she was supported by a mighty combo of stellar musicians, who helped make it a polished presentation. Music Director John Gerdes led Lea Gerdes on woodwinds, Paul Cereghino on piano, and Clarence “Clancy” Newell on drums/percussion.
Owens, who has appeared in regional professional theater and local community theater for the past 10 years, earning multiple award nominations, has two other passions as a performer. She travels the country to present a World War II immersive USO show, “Dixie D’s Canteen,” which captures the 1940s songs and spirit of the Greatest Generation.
She teared up talking about her experiences entertaining military veterans. She is also a performer, producer, emcee, and member of The Bon Bons Burlesque Troupe.
With her busy schedule, the Garland tribute was only scheduled for three nights – July 27, Aug. 2 and 9. It’s such a sincere, affectionate show that I hope it has an encore in its future.
Update: Sell-out crowds have prompted a new date — Wednesday, Sept. 14. More info: www.midnightcompany.com and bluestrawberrystl.com
Jennelle Gilreath Owens, in her Dixie D’s Canteen Show
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Life and death. Lost and found. Weddings and funerals. The big picture and small moments. Cindy Lou Johnson’s “The Years” mulls it all over, and a pliant cast grasps their roles astutely in a bittersweet production from The Midnight Company.
A family comedy-drama written in 1994 and presented in St. Louis some years ago by the Orthwein Theatre Company, its universal themes again connecting in the intimate space of The Chapel. Joe Hanrahan directed the current show, and the latter.
The two-act framework, at first, seems like a familiar scenario: preparing for a small wedding with chaos all around two sets of cousins. Is any family spared drama on special occasions? Not in my experience – but we’re one of those who puts the ‘fun’ in dysfunctional, so the turmoil is relatable.
And this family is indeed ‘off-center.’ “The Years” is resolute in accepting the quirky, with characters going through different phases of understanding through a 20-year period. As the two sisters Andrea and Eloise, Alicen Moser and Summer Baer suffer both in silence and then out loud. They are fine, delicate actresses who excel at their craft.
Alicen Moser. Summer Baer. Photo by Joey Rumpell.
Their flakier cousins Isabella and Andrew are counted on to get things done, and Ashley Bauman and Joey File are terrific in comic relief as bossy, neurotic older sister Isabella and slacker, yet contemplative, younger brother Andrew. Newcomer File is the show’s breakout star, and one to watch.
It’s Andrea’s wedding day, but she is delayed by an inconvenient mugging that’s left her visibly bruised and emotionally battered. Meanwhile, her sister Eloise has problems of her own. They are both fragile, anyway, as they deal with their mother’s suicide soon after their father’s death.
They move on after that turbulent day, and 13 years pass. It’s time for another family wedding, and the cousins come together after struggling through the unpredictability of life. The last act takes place three years later, and this is where it stretched credibility, but it had me up to that troubling end, which didn’t feel like a ‘wrap up.’
The confident cast makes the most of a jagged little play, for they are a finely calibrated ensemble, smooth in their deliveries and comfortable on stage with each other.
In particular, the four cousins are convincing in projecting their shared bonds. While their lives intermingle, we get snippets of their characters through the skills of the performers – because the character backstories are slim.
Rounding out the cast, Michael Pierce and Joseph Garner may seem like interlopers, but their roles are anything but random. In only one scene, Pierce is assured as Eloise’s husband Jeff and Garner, a powerful presence in recent stage appearances, is a conflicted stranger Bartholomew, a lost soul that re-emerges throughout the play. He is prone to giving advice after life-altering events: “My life didn’t change – I changed my life.”
Hanrahan, a master storyteller on his own, has a knack for connecting people through art. A creative dynamo during the coronavirus public health crisis, he pivoted with original material, and keeps challenging himself and his casts with intriguing projects – well-known or new.
An experienced fight choreographer, Pierce (“Twelfth Night” by St. Louis Shakespeare Festival and “Murder on the Orient Express” at The Rep) set up authentic confrontations.
Competent design work was handled by Brad Slavik on set, Miriam Whatley on props, and Tony Enselmo on lights. Liz Henning’s costume designs are always outstanding
While not profound, “The Years” is a thoughtful reflection on connection, curveballs in life, and how our lives are impacted in roundabout ways, and ever more relevant after a global pandemic shutdown.
Summer Baer and Michael Pierce. Photo by Joey Rumpell.
The Midnight Company presents Cindy Lou Johnson’s “The Years” from July 13 to July 29 at The Chapel Performances are Thursdays, Fridays and Saturdays at 8 p.m., with Sunday matinees at 2 p.m. on July 16 and 23. Tickets are on sale at metrotix.com. For more information, visit www.midnightcompany.com
The Midnight Company’s 2023 season continues with extended performances of “Just One Look” July 19, Aug. 16 and 30 at Blue Strawberry; “You Made Me Love You” July 26, Aug. 2 and 9 at Blue Strawberry; “Humans of St. Louis” at the St. Louis Fringe Festival Aug. 15-21, and “The Lion In Winter” Oct. 5-21 at the .Zack.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Midnight Company will present Cindy Lou Johnson’s THE YEARS, running July 13-29 at The Chapel. Performances will be Thursdays, Fridays and Saturdays at 8pm, with Sunday matinees July 16 and 23.
Tickets, $20 for Thursdays and $25 for Fridays, Saturdays and Sundays, will be on sale at MetroTix.com on Monday, June 12. The show will be directed by Midnight’s Artistic Director, Joe Hanrahan.
The play opens on a tumultuous day for two sets of cousins: Andrea and Eloise, and Isabelle and Andrew. It is Andrea’s wedding day, and she and her sister Eloise, are dealing with the recent death of their father, which was soon followed by their mother’s suicide. On the day of her wedding, Andrea has gone into work to help someone, and returning home is mugged. Meanwhile Eloise has just learned of her husband’s betrayal and the end of their marriage. They make it through that turbulent day. And as the story continues, thirteen years pass, and all of the cousins are forced to deal with the vagaries of life and death that the years deliver.
Joe Hanrahan directed this script some years ago for The Orthwein Theatre Company, and Gerry Kowarsky, writing for the St. Louis Post-Dispatch, called that production of THE YEARS “…an exceptional work. Many plays deal with the pain of family relationships, but few have as much insight, pathos and humor as THE YEARS.” And Phyllis Thorpe, for Intermission, a theatre publication at the time, called it “…a beautiful play. Those who saw it will cherish it for a long, long time.” In its premiere New York production, Broadway World cited an “…amazing script,” that resulted in “…a poignant play.”
Hanrahan said, “THE YEARS is a delicate, haunting, unusual play. It deals with situations everyone faces in life, and so we’re able to quickly connect and feel deeply for these characters. I’m so looking forward to working with it once more. And so lucky to have such a great cast to tell this story.”
The Midnight production features Summer Baer and Alicen Moser as sisters Eloise and Andrea. For Midnight, Summer was seen in last year’s RODNEY’S WIFE. And recently she’s appeared in PROOF for Moonstone, THE BIRTHDAY PARTY for Albion, and currently GLORIA: A LIFE at New Jewish Theatre. Alicen, Artistic Director for Poor Monsters, just directed THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY for Midnight, and previously appeared in the Company’s Beatle play at the St. Louis Fringe Festival, THE EVEREST GAME. She’s currently appearing in ERA’s THE BRECHTFAST CLUB.
Ashley Bauman and Joey File will play their cousins, Isabelle and Andrew. Ashley has appeared in AS YOU LIKE IT for SIUE, A LATE SUMMER NIGHT’S STROLL for St. Louis Shakespeare Festival and DR. FAUSTUS: THE MODERN PROMETHEUS for SATE. Joey was also in the cast of AS YOU LIKE IT, and has also been seen in MUCH ADO ABOUT NOTHING and RENT at SIUE.
Michael Pierce will portray Jeffrey, husband to Eloise. Michael, who will also serve as Fight Director for the play, has been seen in the Aphra Behn Festival for SATE, and LAUGHTER ON THE 23rd FLOOR for New Jewish. He also served as Fight Director for St. Louis Shakespeare Festival’s TWELFTH NIGHT and MURDER ON THE ORIENT EXPRESS for The Rep. And Joseph Garner will portray Bartholomew, a stranger who becomes involved in the cousins’ lives. Garner appeared in Midnight’s ANOMALOUS EXPERIENCE, was seen in THE CHRISTIANS at West End and currently in CLASH OF THE TITANS for Cherokee Street Theater.
Hanrahan recently appeared in Midnight’s THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY. He wrote and directed the Linda Ronstadt show, JUST ONE LOOK, currently playing in extended performances at The Blue Strawberry, and is writing and directing the upcoming Judy Garland show, YOU MADE ME LOVE YOU, coming in late July there. Hanrahan was nominated by The St. Louis Theatre Circle as Outstanding Director for last year’s RODNEY’S WIFE from Midnight.
Mason Hunt will be Stage Manager for the show, Brad Slavik is designing the set, Tony Anselmo the lights, and Elizabeth Henning costumes. Miriam Whatley will handle props.
The Midnight Company’s 2023 season continues with: Extended Performances of the JUST ONE LOOK July 19, August 16 & 30 at Blue Strawberry YOU MADE ME LOVE YOU July 26, August 2 & 9 at Blue Strawberry HUMANS OF ST. LOUIS at The St. Louis Fringe Festival August 15-21 and THE LION IN WINTER at the .ZACK October 5-21
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
As we head into Pride Month, “The Absolute Brightness of Leonard Pelkey” couldn’t be timelier, especially in this unfortunate age of intolerance.
This passion project from The Midnight Company stars an empathetic Joe Hanrahan in multiple roles and is deftly directed by Alicen Moser.
A one-man show, written by Celeste Lecesne, is based on their young adult novel, and illuminates a very personal struggle about acceptance.
Lecesne has gone by he/they since 2020, and is best known for winning an Academy Award for Best Live Action Short in 1995, for “Trevor.” In 1998, they co-founded and launched The Trevor Project, which is a 24-hour suicide prevention and crisis intervention lifeline for LGBTQ+ youth.
The 2015 narrative fictional play is structured as a police procedural, with a detective seeking answers about a missing teen in a small-town on the Jersey Shore. A hard-hitting story that draws inspiration from such horrific true incidents as high school student Jadin Bell in Portland, Ore., who committed suicide after gay-shaming, and college student Matthew Shepard who was attacked and left for dead in Laramie, Wyoming in 1998, among other anti-gay hate crimes.
The playwright, who described Leonard as a luminous force of nature who encountered evil and whose magic wasn’t truly felt until he disappeared, shines a compassionate spotlight on this character you feel that you know.
Unapologetically flamboyant, theatrical, and true to himself, the 14-year-old chatterbox looked and acted as he pleased, just being himself. He planned to dress up as Lady Gaga on Halloween.
Bullied for being who he was, Leonard did win some people over. Details emerge about what a colorful presence he was, and how that light dimmed in the people’s lives who loved him.
Joe Hanrahan .Photo by Joey Rumpell
Besides the inevitable pensive sadness that permeates the one-act, there is also a glimmer of hope about progress and brings more focus on the never-ending mission to understand those who are lesbian, gay, bisexual, transgender and questioning – and anyone who beats to a different drummer.
Over the course of 1 hour and 20 minutes, Leonard looms larger than life, although he is not physically present. We feel him. We see him through the people who knew him, which Hanrahan effectively presents.
Besides playing the primary character — police detective Chuck DeSoto, Hanrahan takes on the characters Chuck interviews – Ellen Hertle, a hair salon owner who cared for Leonard after his mother died, and her 16-year-old daughter Phoebe Hertle, who report him missing; Buddy Howard, who ran the drama and dance school where Leonard took classes; Gloria Salzano, who saw a platform sneaker floating in the lake next to her home; Marion Tochterman, Otto Beckerman, suspect Tyler Lembeck; and Chuck’s boss, Marty Branahan.
Trevor didn’t tell people he was gay, they just assumed, although he liked to remain a mystery. That didn’t stop name-calling. And he attempted suicide.
As Chuck discovers clues and puts together details of a brutal murder, it’s hard not to be moved by the melancholy, but also discover how this boy touched lives, and eventually made a difference in how people saw others.
The minimalist drama, with stage manager Linda Menard placing props on sparse furnishings and production support from Kevin Bowman, features expressive lighting design by Tony Anselmo in the Kranzberg Black Box Theatre.
Although Leonard isn’t a real person, you leave feeling like you know every character. Hanrahan, who often presents one-man shows, makes the people relatable.
The show’s message reflects Shakespeare’s line from “Hamlet”: “To thine own self be true,” and it’s always good to reinforce that, no matter how one identifies themselves. And to bring more attention to The Trevor Project – hotline is 1-866-488-7386.
Hanrahan, himself a force of nature, has dedicated this show to the Absolute Brightness of Travis Hanrahan, his son who died at age 27 in 2017.
Photos by Joey Rumpell
The Midnight Company presents “The Absolute Brightness of Leonard Pelkey” from May 4-20, Thursday through Saturday at 8 p.m., in the Kranzberg Black Box Theatre, 501 N Grand Blvd, St. Louis, MO 63103. For more information, visit www.MidnightCompany.com
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Midnight Company will present the solo show THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY, by Celeste Lecesne. May 4-20 at The Kranzberg Black Box Theatre. Performances are Thursdays, Fridays and Saturdays at 8pm. Tickets ($25 for Friday/Saturday and $20 for Thursday) will go on sale April 10 at MetroTix.com. Alicen Moser directs.
Joe Hanrahan, Midnight’s Artistic Director, portrays a detective and other characters in a small New Jersey town as he unravels the story of Leonard Pelkey, a tenaciously optimistic and flamboyant fourteen-year-old boy who goes missing. A luminous force of nature whose magic is only truly felt once he is gone, Leonard becomes an unexpected inspiration as the town’s citizens question how they live, who they love, and what they leave behind.
Celeste (formerly James) Lecesne has written several books, including the novel ABSOLUTE BRIGHTNESS, which gave birth to the play, as well as the play and book, WORD OF MOUTH, which gave birth to the short film, TREVOR.
The New York Times said ABSOLUTE BRIGHTNESS “…leaves you beaming with joy…a superlative solo show…Mr. Lecesne is a writer of wit and great observational skills, who here unfolds a dark tale that shimmers with needling suspense you associate with best police procedurals…Perhaps most remarkably, he’s the rare artist who doesn’t shy away from sentimentality…you may find yourself choking back a tear or two.”
The New York Post called the show “…moving…Lecesne delivers a message of acceptance without being preachy. Intimate and affectionate, ABSOLUTE BRIGHTNESS is about the difference one person can make-and perhaps, with any luck, one show.”
And the Los Angeles Times said ABSOLUTE BRIGHTNESS “…shines with humanity…an affecting and entertaining testament to the beauty of a world in which difference is celebrated rather than denigrated.”
Joe Hanrahan as Detective Chuck DeSoto, photo by Todd Davis
Hanrahan has performed a number of solo shows, including several each by Eric Bogosian, Conor McPherson, Will Eno and Daniel MacIvor, as well as portraying Harry Truman in GIVE ‘EM HELL HARRY and in his own script, the Theatre Circle nominated NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND. His play about Linda Ronstadt, JUST ONE LOOK, continues with extended performances this April at The Blue Strawberry, and coming in 2023, he will direct THE YEARS in July, write/direct the Judy Garland show YOU MADE ME LOVE YOU at The Blue Strawberry in late July, co-adapt and direct HUMANS OF ST. LOUIS from the book at The St. Louis Fringe in August, and perform in THE LION IN WINTER in October.
Director Alicen Moser is one of the artistic leaders of the theatre group, Poor Monsters, and she’s performed as an actress for many St. Louis groups, including Midnight when she appeared as George Harrison in Hanrahan’s Beatle play, THE EVEREST GAME, at the 2017 St. Louis Fringe Festival.
Linda Menard will stage manage, Tony Anselmo will design the lighting, and Kevin Bowman provides production support.
############## In 1995, Celeste Lecesne wrote the screenplay for the short film, TREVOR, which won the Academy Award for Best Live Action Short Film. Inspired by that film, in 1998 Lecesne co-founded and launched The Trevor Project, the first nationwide 24-hour crisis intervention lifeline for lesbian, gay, bisexual, transgender and questioning youth, including phone, in-person and additional online life-affirming resources. If someone you might know is feeling helpless or suicidal, trained crisis counselors are available 24/7 at 1-866-488-7386, or by texting 678678. More information is available at thetrevorproject.org. The Midnight Company will be working to spread the awareness of The Trevor Project during the run of THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY. More at MidnightCompany.com
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Blue Strawberry and The Midnight Company have announced that the Linda Ronstadt show, JUST ONE LOOK, has been extended. March 8 and March 15 performances are Sold Out, and tickets for additional performances March 22 and 29 will go on sale Monday, March 6. Tickets are $25 for the 7:30pm shows, and can be reserved at BlueStrawberrySTL.com or by calling 314-256-1745.
JUST ONE LOOK, written and directed by Midnight Artistic Director Joe Hanrahan, stars Kelly Howe as Linda Ronstadt, and the show’s band includes Curt Landes, Piano and Music Director, Tom Maloney on guitar and bass, and Mark Rogers, percussion and vocals.
Jim Lindhorst at Broadway World said of the show “JUST ONE LOOK is just one night of exceptional music. It’s a nostalgic rock ‘n roll cabaret performance that is uniquely driven by a theatrical narrative and it works on every level. Hanrahan’s vision created an entertaining way to present the music that goes beyond cabaret performance. But it is Kelly Howe’s phenomenal delivery of Ronstadt’s tunes that make for a most enjoyable night in a cabaret venue.”
And Sarah Fenske of the Riverfront Times said “Kelly Howe simply dazzles as Linda Ronstadt…an astonishing parade of hit after hit after genre-defying hit….thanks to Howe, Hanrahan and the rest of this throughly enjoyable production, you can’t help but marvel.”
After JUST ONE LOOK, Midnight’s 2023 season will continue with THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY (May 4-20 at the Kranzberg Black Box), THE YEARS (July 13-29 at The Chapel), YOU MADE ME LOVE YOU (July 26, August 2 & 9 at The Blue Strawberry) and THE LION IN WINTER (October 5-21 at the .ZACK.) For more information, visit midnightcompany.com.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Love has got everything to do with it. The costumes are gorgeous, the musicianship splendid and the legendary subjects all deserving of the spotlight in the reverent play with music, “St. Louis Woman.”
Local playwright Joe Hanrahan, Midnight Company’s founder and artistic director, has a deep knowledge and interest in local history as well as an affinity for and expertise in popular music.
In this enjoyable, affectionate showcase brimming with good beats and striking visuals, Hanrahan honors local legacies by presenting their impact on the world through an earnest young singer, Laka.
Laka is a relative newcomer on the local music scene, having performed her first cabaret at the Blue Strawberry in April 2020, and she does not have any experience regional theater.
This work is her stage debut – and it appears that her collaboration with Hanrahan took them both to their happy place. She is a likable performer, projecting perseverance and positivity, even if she is acting novice with more to learn.
Laka embodies their important traits of dedication and resolve as Hanrahan, also the director, unfolds snapshots of Josephine Baker, Tina Turner, Katherine Dunham, Maya Angelou, Fontella Bass, Ann Peebles, and Willie Mae Ford Smith.
The women are all artists with some connection to St. Louis, whether they were born here, grew up here or moved her during their adult years. You might not have heard of everyone but by the end of the show, they will all be memorable.
Hanrahan reveals interesting tidbits about their lives while Laka tells their story in looks, voice and career/life observances. Each woman could be celebrated in their own show, but this ties them intrinsically together, in small-batch narratives.
Hanrahan knows how to mine key details from his copious research to make the script flow. It’s well-constructed with moments big and small.
“They brought this city to the world with their music, dance and poetry,” he said.
The accompanying music, with cool cats Corey Patterson on keyboards and Gabe Bonfili on percussion, had a fun vibe. They excelled at keeping the tempo upbeat and the mood pleasant – nice, easy and kicked up a notch. Bruce Bramoweth’s contributions as a music consultant helped set the piece, too.
Enhancing the show immeasurably is Liz Henning’s stunning costume designs – she captured each period and personality perfectly. The red-sequined mini-cocktail dress Laka rocked as Tina was a wow!
An accomplished video designer, Michael Musgrave-Perkins has done exceptional work with archival footage and vintage documents to convey time periods for each woman, setting us in a ‘you are there’ format. The selections are first-rate and the presentation polished.
Ashley L. Tate has executed appropriate choreography, particularly the iconic Banana Dance by Josephine Baker, and Tina Turner’s vivacious gyrations.
Lighting Designer Tony Anselmo and Production Designer Kevin Bowman helped create the look that set the mood and the groove.
Straightforward and sincere, “St. Louis Woman” raises the voices of some remarkable women, leading lights once rolling on the river. It’s a remembrance to savor, a pride to share and world-class names forever linked to our city’s tapestry.
Laka. Photo by Joey Rumpell.
The Midnight Company presents “St. Louis Woman” Oct. 6-22, Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. (Oct. 9 and 16) at the .Zack Theatre, 3224 Locust in the Grand Center Arts District. For more information, visit www. midnightcompany.com.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
