Audience Has As Much Fun as the Cast in New Line’s ‘Rocky Horror Show’

Audience Has As Much Fun as the Cast in New Line’s ‘Rocky Horror Show’

By Lynn Venhaus

Madness takes its toll, yes siree, so who needs fantasy to free you? If you are yearning for a time slip, step back into another dimension and do the Time Warp again!

After all, in 2025, many of us are craving an escape, especially after a very long dreary winter and escalating chaos in the world. What better way than to join like-minded theatregoers and be entertained in a feel-good another-world way? (At least, if you can’t afford a tropical vacation).

The enduring much-revered fan-favorite musical “The Rocky Horror Show” is being produced by New Line Theatre after the company first staged the daring cult smash hit 23 years ago.

But it’s not a rewind. This time, a playful cast interprets the original live stage show, which varies slightly from the raucous cult classic 1975 movie “The Rocky Horror Picture Show,” and may provide a fresh perspective in this changing current climate (as in catch it now before Missouri legislators may outlaw it).

Fifty-two years ago, Richard O’Brien created “The Rocky Horror Show” as a satire for what was happening with the post-60s sexual revolution – that ye olde ‘sex, drugs, and rock ‘n roll’ era and repurposing the Frankenstein legend.

He wrote the music, lyrics and book. O’Brien’s snarky cocktail of tongue-in-cheek, wink-wink behavior, a pre-punk glitter rock concert, and plenty of sexual innuendo were mixed with a homage to old horror and sci-fi B-movies (Think Ed Wood meets The New York Dolls). It caught fire as a London stage production in 1973.

The musical’s book is keen on comedy, so the suggestive one-liners are abundant and so are the flying freak flags in Transexual Transylvania. After all, it was always meant to be tawdry and tacky.

New Line’s production attempts to re-ignite the fervor for sassy and saucy iconic characters who proudly live their life out loud (but in a spooky setting that erupts into dance parties at will).

For the uninitiated, the story follows the transgressive space explorer Dr. Frank N. Furter, his fellow aliens, his Creature, and a few hapless humans.

Todd Schaefer, who played Brad Majors in New Line’s 2002 endeavor, returns as the wickedly naughty, sexually ambiguous, mad scientist Dr. Frank N. Furter. He leans into the kitschy, campy vibe, confidently strutting in risqué leather and asserting that he is the master of his domain in “Sweet Transvestite.”

Schaefer, who has appeared in 14 shows with the company, grabs hold of the spotlight and delivers his audacious come-ons and comebacks with charming zest and perfect timing. In the second act, he brings the house down with the power ballad “I’m Going Home” after lamenting in “Don’t Dream It, Be It.”

Also standing out were Brittany Kohl and Rafael DaCosta, who earnestly play the lost, scared and confused newly engaged couple Janet Weiss and Brad Majors, a nubile ingenue and her nerdy preppy who are mocked for their naivete and later are energized by their sexual awakening (mostly in the dark, as told in narration).

Their strong voices blend beautifully, especially in “Super Heroes,” and while projecting their characters’ cluelessness in “Damn It, Janet” and “Over at the Frankenstein Place,” they display a sweet innocence together.

Many times, you see people over-exaggerating these roles, but Kohl and DaCosta offer endearing sincere portrayals. And then sure have fun in the second act. Brittany spryly handles “Touch-a Touch-a Touch Me” while Rafael offers a poignant “Once in a While” (cut from the movie).

Another actor having a blast from the past is Christopher Strawhun as doomed biker-greaser Eddie in his raucous solo “Whatever Happened to Saturday Night?” and in a dual role, playing serious expert Dr. Scott, who sings the peppy “Eddie’s Teddy.”

A blonde Zachary Thompson is a bold and brave boy-toy using his physicality as the freshly minted lab Creature, wearing only a skimpy gold lame G-string, and running all over the stage. He delivers a brisk “The Sword of Damocles.” In the second act, I was worried about his very hard fall landing, for he was giving 100% in his characterization.

Katie Orr as Magenta and Tori Shea Cole as Columbia go full glam rock. Orr sets the mysterious mood with the opening “Science Fiction/Double Feature.” She joins her brother Riff-Raff and Columbia on the frisky “The Time Warp.”

I’ve seen the stage show where they have added ensemble characters, called “The Phantoms,” to provide more singers and dancers for the group numbers. But co-directors Scott Miller and Chris Moore have kept the original 9-person ensemble intact.

The butler/handyman Riff-Raff, who is loyal to but also resentful of Frank, usually has a sinister quality. Sporting an androgynous look, Bee Mercer’s interpretation varies from the typical characterization, and while sometimes menacing, acts less creepy and more bizarre.

In another departure, she didn’t develop a strange alien-like voice but uses one like the strange butler Lurch in “The Addams Family.” But everyone presents their own interpretation, as actors tend to do, and not be carbon copies of past performers.

The narrator is crisply played, in authoritative, somber fashion, by Chelsie Johnston, a multi-hyphenate who also choreographed and assisted directing the show.

Making sure the musical numbers keep a lively beat is music director Randon Lane. He superbly conducted a robust 5-man band – John Gerdes on bass, Adam Rugo on guitar, Brandon Thompson on saxophone, Clancy Newell on drums and Jason Eschhofen on second keyboard, while he is pounding away with the driving verve of Jerry Lee Lewis. I enjoyed the sax addition.

It helps that the sound design by Ryan Day is flawless, and use of the hand-held microphones stationed on stands lining the runway was a terrific idea. A new lighting designer, Jack Kalan, had to deal with a multitude of cues, blacking out the room on several occasions, and only highlighting specific people at times using the broader expanse of the Marcelle for entrances and exits.

“The Rocky Horror Show,” and by extension, the movie version, has always been a pop culture rite of passage, enticing with its spicy blend of Halloween Party, drag show, and midnight movie madness.

Those of us old enough to be part of the Varsity Theatre’s midnight screenings in the Delmar Loop during its 1977 and 1978 glory days can wax nostalgic on the experience. The former movie house, now Vintage Vinyl, was one of the first 30 theatres in the U.S. to show “The Rocky Horror Picture Show.”

The movie began showing as a regular feature in March 1976, then a midnight movie on occasional weekends for the rest of that year and through 1977. By May of 1978, it became the regular weekend midnight movie and played until the theatre closed in 1988.

People fondly recall those packed houses and how shenanigans ensued. It’s a touchstone akin to the Mississippi River Festival and the old Busch Stadium II nostalgia that Boomers love to wallow in (including me).

For a time, the Tivoli Theatre programmed the picture, especially during the Halloween season, and usually featured a shadow cast to mimic the action on the big screen. One could purchase a bag of the props, so you didn’t have to bring them from home.

Now, “Rocky Horror” has reached four generations! Its message of acceptance and acknowledging personal freedom continues to resonate.

It doesn’t matter if you are a first-timer or a super-fan, you’ll be able to ease into the festive party atmosphere because the audience always has as much fun as the performers on stage (although it varies from the midnight movie phenomenon’s interactive encouragement).

A warning – this version is non-participatory, so no singing along, shouting out or tossing objects, so leave your toast, rice, toilet paper, noisemakers, and other props at home.

Signs placed around The Marcelle remind everyone to enjoy watching the two acts, which last about 1 hour, 45 minutes, and if opening night is an indication, with a spirited crowd. You can, however, dress in costume.

For New Line Theatre’s 99th show in 33 years, scenic designer Rob Lippert has created a modest set for maximum movement, with a runway allowing ample flexibility for the characters to cavort, and scaffolding acting like floors of the castle. An old-timey Coca-Cola cooler becomes a de facto lab.

Costume designer Erin Goodenough has outfitted everyone in what would be considered eccentric standard looks for Rocky Horror, including many pairs of fishnet stockings. A surprising number of sequins went into sparkly attire for character transformations in the finale.

These days, a rebel yell is good for the soul, as more conservative views sweep the land, wishing life were a ‘50s sitcom dream. Anyone not wanting to conform to outdated social mores and go back, those who can take a joke, could get fired up at “The Rocky Horror Show.” Just saying.

New Line Theatre presents “The Rocky Horror Show” from Feb. 27 to March 22, on Thursdays, Fridays and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, three blocks east of Grand. The show has adult themes and is for mature audiences only. For more information: www.newlinetheatre.com.

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

By Lynn Venhaus

A personality-driven low-key charmer, the musical ‘[title of show]’ offers a fresh perspective with its vivacious gender-bending cast.

And what’s not to love about a 20-year-old original musical that is unapologetically OK with being “nine people’s favorite thing than a hundred people’s ninth favorite thing”?

In a world of “Cake Boss” and “The Great British Bake Off,” why not choose to be a Rice Krispie Treat? (Nothing wrong with that – and you can have one at intermission, too).

Prism Theatre Company is presenting this enjoyable modest production in two acts with a disarming all-femme quartet of performers and one expert musician accompanying them on keyboard.

Mallory Golden serves as the music director, and they are called “Larry.” They have an occasional spoken line of dialogue and comical in their timing.

They have guy names because Prism did not change those characters when they cast women. The musical’s creators – Jeff Bowen wrote the music and lyrics, Hunter Bell the book – are called Jeff and Hunter, and played by a spunky pair, Katie Orr and Jaelyn Hawkins.

It really doesn’t make a difference – it’s entertaining from this point of view because it is brimming with sly theatrical references and features a classic struggle about pursuing your dreams, no matter what obstacles. Their ambition resonates.

It’s also a tale of friendship, those pals who get you through tough times, who encourage and collaborate – and work through tension and chaos. The four principal actresses project the camaraderie that is necessary to make this show work, under the adroit direction of Sam Hayes.

Being gender-fluid doesn’t change how meta this musical is, because they are two friends who are theater artists writing a musical about writing a musical. Their first goal together is to send in an original work to the inaugural New York Musical Theatre Festival – only its deadline is three weeks away.

Their frantic, fraught creative process, with their real-life obstacles, are what makes the show unique to them. The time and place are New York City, 2004. Starving artists whose endgame is Broadway have their own sets of issues, which factors into the show – all driven by the mindset “If you can make it here, you can make it anywhere.”

And from there, their goals get bigger, their challenges more daunting, and their exasperations and aspirations escalate. It’s clever and funny in a very natural, authentic way.

Rounding out the cast are their two friends they cast in their show. Rachel Bailey is sassy, snarky Susan, a comic actress whose day job is an office worker, and Savannah Fernelius is assertive Heidi, a polished performer who wonders if she is doing the right thing hitching her wagon to this project. They are based on Susan Blackwell and Heidi Blickenstaff, who not only were in the show, but were part of the process.

It is a wild rollercoaster ride of emotions for the quirky characters, all who have skin in the game. They yearn for fame and recognition. They persist. They want to matter, find their place in the world.

The creative team may be “Two Nobodies from New York” but they want to be “Part of It All.” Why not dream big? (“The Tony Award Song”).

The two writers are imaginative and capable. Their progress is chronicled in such witty ditties as “An Original Musical” (with the proverbial blank piece of paper) and “Filling Out the Form.”

Their brainstorming techniques are hilarious in “Monkeys and Playbills.” The second act’s stakes are captured in “Montage Part 1: September Song,” “Montage Part 2: Secondary Characters” and “Montage Part 3: Development Medley.”

The four are not only nimble at comedy, but can crisply sell a showtune with strong melodic voices.

Katie Orr, Rachel Bailey and Jaelyn Hawkins. Photo by Cady Bailey.

The Susan-led “Die, Vampire, Die!” is an ingenious way to vanquish demons and doubts, and Bailey is good at animated delivery.

In her professional debut, Fernelius makes quite an impact with silky-smooth vocals, and powerfully delivers a stunning “A Way Back to Then.” She has been standing out in college and community theater and is indeed ready for her close-up.

The show’s offbeat approach obviously differentiates from fairy tale-fiction in a land of enchantment (“Into the Woods” references abound, by the way). The quartet are more self-aware than naïve, more jaded and cynical about the highs and lows in life yet wear their hearts on their sleeves and they wish.

Their strengths and weaknesses are fully on display, not unlike those four unfiltered millennials in the HBO television series “Girls” that ran for five seasons. Raw and real, they aggravate each other and express their feelings.

Hunter fires off torrents of profanity, easily upset and distracted. (You can imagine him/her erupting at the neighborhood association meeting). Hawkins is funny in her no-holds-barred character’s tendency to go to DEF-CON 1.

Like many well-meaning longtime friends, Jeff knows how to deal with Hunter, and Orr is instinctive in her portrayal of the one who isn’t prone to histrionics.

There is a mature content advisory: “This play contains heavy adult language and open discussion of adult content. Audience discretion is advised.”

The pair of actresses playing actresses are creating an identity through their roles – “I Am Playing Me” and are initially at odds with each other – “What Kind of a Girl Is She?”

Savannah Fernelius is Heidi. Photo by Cady Bailey.

This is Prism’s first musical, and as a love letter to musical theater, it’s an interesting exchange of ideas and talents. It’s yet another version of “The Little Engine That Could,” showbiz style.

And in their hands – heartfelt. Co-producers Joy Addler (managing director) and Trish Brown (artistic director) founded this regional professional theater troupe with the mission of supporting women. This season’s theme is “Raise Your Voice.” I’d say this choice is apt.

The earnest presentation has a rough-around-the-edges quality yet has the enthusiasm of Judy Garland and Mickey Rooney gathering the neighborhood kids in those “Hey kids! Let’s put on a show!” old-timey musicals – but instead of a barn, they’re in a minimalistic rehearsal space with four chairs.

On a much smaller scale, this show follows the world-building on display in big-deal beloved musicals like “A Chorus Line,” “Singin’ in the Rain,” and “Dreamgirls.”

While it may not have a showstopper like “What I Did for Love,” the substantive songs showcase their doubts, fears, instincts, hopes and dreams in a relatable way.

Cady Bailey’s choreography is appropriate for the characters and incorporates snappy theatrical dance moves in an endearing way.

The quartet’s fervor for this material is perceptible, so is their warmth. The way they work together is specific, which adds a distinctive flavor to the show. There isn’t a whiff of artifice or slickness, rather a gutsy “Take us as we are” attitude.

And their work-in-progress show is constantly expanding and involving, as they adapt, evaluate, revise, re-evaluate, and have hissy fits. “Change It/Don’t Change It” illustrates those efforts, and “Awkward Photo Shoot” is a full-out meltdown of dysfunction.

Scenic designer Caleb D. Long has kept things basic and functional, with a nifty arrangement of frames that light up, and the noteworthy lighting design by Catherine Adams is effective. Golden also did the sound design, which is without issues in the intimate Kranzberg Black Box.

Their costumes, designed by Hayes, are everyday casual, look like out-of-their-closet selections. The sense of a team effort, with Sadie Harvey assistant director and props master, Katie Smith props artisan, carpenter William Higley, along with technical director Caleb D. Long, Golden, and Adams is apparent.

Bell and Bowen may not be as well-known as Pasek and Paul or as hip as Kerrigan and Loudermilk, but their memorable original work “[title of show]” earned awards nomination and elevated their credentials.

Bell, a graduate of Webster University’s Conservatory of Theatre Arts, won an Obie special citation award and was nominated for Drama League, GLAAD Media and Tony awards for best book of a musical. Bowen won an Obie special citation award for the music and lyrics.

After the musical debuted at the festival, two years later it opened off-Broadway at the Vineyard Theatre in 2006 and then moved to Broadway two years later, at the Lyceum Theatre, in 2008.

Proactively, in hopes of mounting the show at a Broadway theater, Bell and Bowen created a video blog, called “The [title of show] Show” that documented the musical’s progress and featured famous guest actors in episodes that went viral. In Episode 8, mission accomplished: the New York Times announced the show’s opening date at the Lyceum. (The show continued as a web series with a season 2, music videos and specials.)

What Bell and Bowen have learned the hard way – albeit with a delightfully improbable successful run about what all goes into making a musical — (and they did it before “Something Rotten!”) – can be summed up through the words of philosopher Ralph Waldo Emerson: “It’s not the destination, it’s the journey.”

This cast’s exuberance and the creative team’s efforts result in a satisfying tag-along adventure. Its candor and cheekiness are refreshing. And yes, that was Sutton Foster leaving a voice mail rejecting their offer. Touche!

Prism Theatre Company presents “[title of show]” weekends through Sept. 8.  Performances take place at the Kranzberg Center in Grand Center, 507 N Grand Blvd, St Louis, MO 63103. For more information: prismtheatrecompany.org.

For tickets, visit https://www.metrotix.com/events/detail/prism-theatre-company-title-of-show

NJT’s Scintillating Drama ‘Red’ Vigorously Paints a Portrait of Artists and the Drive to Create

NJT’s Scintillating Drama ‘Red’ Vigorously Paints a Portrait of Artists and the Drive to Create

By Lynn Venhaus

“What do you see?”

The opening line of “Red” establishes the essence of this brilliant fact-based drama by John Logan.

An invigorating portrait of abstract expressionist Mark Rothko focuses on the singular artist at a crossroads in his career. An astounding Christopher Harris has vividly sketched this mercurial icon with intense physicality and quicksilver verbal jousting.

Rothko, a Russian immigrant who arrived at Ellis Island in 1913 with his Jewish family when he was 10, was known for his uncompromising nature, ambition, obsessiveness, and troubled, restless mind.

In the 1950s, he rose to prominence in the ephemeral art world, and now is considered one of the most influential artists of the 20th century. But as his celebrity grew, so did his doubts about artistic integrity.

From 1949 to 1970, he rose to fame for his minimalist soft-edged, shaded rectangular color blocks on unframed canvases – such as “Lavender and Mulberry,” “Yellow Over Purple,” “Four Darks in Red” and “Orange and Tan,” which produced a variety of emotional responses.

Christopher Harris, as Rothko, and Dustin Petrillo as Ken. Photo by Jon Gitchoff.

Through these infinite variations of vibrant divergent color blocks, he opened the power of raw emotions. Striving for depth, he employed layering in painting, and through his bold techniques for color, size and space, he crafted a signature style.

He was sensitive to harsh criticism that abstract art could be painted by 5-year-olds, as this fictional play indicates he was motivated by ideas and mindful of his legacy.

Harris’ Rothko alternates between reflection, frustration and pontification. Wanting to remain relevant and create a memorable work for posterity, yet irked by the monetary reason that went against his principles, he second-guessed a major decision.

He had accepted the largest commission in modern art history – $35,000, his first, from the deep-pocketed Seagrams to produce four large murals to hang in their building at the elite Four Seasons. The new place would become Manhattan’s poshest restaurant.

The time is 1958-59 and the place is a former gymnasium remodeled into an art studio in the Bowery neighborhood of New York City.

Through blunt conversations with his employee Ken (a fictional character that’s a composite of multiple assistants the iconoclast had), he will change his mind. But that defining moment comes after the men have intense and fascinating discussions about art, artists and the drive to create.

Petrillo as the assistant. Photo by Jon Gitchoff.

As the eager and earnest assistant, the intuitive young actor Dustin Lane Petrillo delivers another perfectly calibrated performance, following his dynamic turn as Hamlet in St. Louis Shakespeare’s production earlier this year, and was exemplary as the title role in “The Immigrant” at New Jewish Theatre last fall, nominated for a St. Louis Theater Circle Award.

Ken is an aspiring artist and is at first colorless, but we see his shadings emerge as he adapts to the complex and mysterious Rothko’s demands, outbursts and temperament. His rigorous assignments are to mix paint, build frames, stretch canvases – and get lunch, go on errands and whatever else his difficult boss orders.

Over a two-year period, gaining confidence, he begins to challenge Rothko, believing art should reflect change. Rothko’s vulnerability seeps through his façade, and so does his torment.

The tortured artist couldn’t quite reconcile the motives connecting commerce and art, especially rampant corporate capitalism. He wrestled with the role of art in society – décor or thought-provoking?

With this two-hander, the actors are strongest in collaboration – and they must create paintings live on stage, which is both daunting and enthralling. They accomplish it with elan.

Petrillo and Harris. Photo by Jon Gitchoff.

They crafted a working relationship that alternated between tempestuous and harmonious, and the duo mesmerized for 90 minutes. You can feel them challenging each other, demonstrated by their mastery of the back-and-forth like they’re lobbing tennis shots in a Grand Slam final.

Harris. who has not only stage experience but also film, television and radio, was last seen in NJT’s “Life Sucks” in 2018. portraying Vanya in this comedic take on Chekhov’s play “Uncle Vanya.”

Taut direction by Alan Knoll makes this tightly controlled atmosphere engrossing. The comic relief is well-timed, and the material richly textured. Knoll had gracefully directed two triumphant Neil Simon comedies for NJT in recent years – “Brighton Beach Memoirs” and “Broadway Bound.” This show is a tall order, and he’s up to the demands, because to pull all of this together had to be an incredibly arduous task.

During this play, Rothko rails against the status quo, disparaging people who preferred safe pieces suited for “above the mantel,” revealing Rothko’s disdain for his contemporaries and the rising stars of pop art.

Battling depression his entire life, Rothko died by suicide in 1970. He was 66. The play does not include an epilogue, preferring to concentrate on that momentous two-year period of passionate creativity in the late 1950s.

He would go on to cancel the Seagram contract in 1960, and instead donated pieces to the Tate Gallery in London in 1966.

Well-researched and thoughtfully written by Logan, “Red” elevates art appreciation. He is meticulous in conveying Rothko’s strong scholarship in art history, bringing up the effect Rembrandt’s emotive use of light had on him when seeing one of the Dutch masters’ paintings, and other impactful pieces.

Harris. photo by Jon Gitchoff.

The visceral drama won the Tony Award for Best Play in 2010, taking home five other awards including one for Eddie Redmayne as Ken for Best Featured Actor in a Play. (Alfred Molina, who originated the leading role, lost to Denzel Washington for “Fences.”)

The St. Louis-based Fox Theatricals was among the Broadway producers. The Repertory Theatre of St. Louis presented the show in 2011, opening its 45th season soon after the play’s triumphs in London and NYC, and it hasn’t been professionally produced regionally since then.

Logan, whose lauded career includes writing plays for 10 years in Chicago before penning the screenplays “Any Given Sunday” in 1999, Ridley Scott’s “Gladiator” in 2000, Martin Scorsese’s “The Aviator” in 2004 and “Hugo” in 2011, the latter three all Oscar-nominated, and two James Bond films for Sam Mendes, “Skyfall” in 2012 and “Spectre” in 2015.

The New Jewish Theatre produced Logan’s chilling first play “Never the Sinner” about killers Leopold and Loeb in 2017.

Scenic designers Peter and Margery Spack, whose painstaking details often stun in breadth and scope in the Wool Studio, have transformed this pliable space into a functional work, with outstanding props collected by Katie Orr. They have replicated, with permission, Rothko-style canvases.

Studio. Photo by Jon Gitchoff.

The award-winning designers studied archival photos and accounts to recreate the studio as faithfully as possible in the theater, including an Adirondack chair Rothko favored.

Lighting designer Jayson M. Lawshee has expertly shut out natural light, per Rothko’s notorious edict, while sound designer Justin Smith has astutely selected mood music of preferred classical and period jazz pieces. Michele Friedman Siler, whose period costume designs are notable for their accuracy, outfits the two artists appropriately.

Rothko once wrote: “The tragic experience of catharsis is the only source of any art. Art is an adventure into an unknown world, which can be explored only by those willing to take risks.”

This inspired production honors risk takers and spotlights universal truths while presenting an interesting debate about the role of art in society. Featuring two robust performances and exceptional production values, “Red” should not be missed in this stellar environment.

This is not a rehash of your college modern art history class, and hurray for that distinction. The effort that went into every aspect of this stimulating show is obvious – and admirable.

Harris. Photo by Jon Gitchoff.

New Jewish Theatre presents “Red” July 25 through Aug. 11 in the SFC Performing Arts Centers’ Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis. Performances are Thursdays at 7:30 pm, Saturdays at 4 and 8 pm, and Sundays at 2 pm. The show is 90 minutes without intermission. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org. For more information: jccstl.com/arts-ideas/new-jewish-theatre/current-productions.

As a bonus event, scenic designer Margery Spack will give a presentation on her fascinating research into Rothko’s studio and the designers’ process in translating it for the NJT stage on Sunday, Aug. 4 following the 2 pm performance.

Stray Dog’s Silly ‘Xanadu’ Captures the Show’s Campy Kitschy Fun

Stray Dog’s Silly ‘Xanadu’ Captures the Show’s Campy Kitschy Fun

By Lynn Venhaus

“Xanadu” is a silly bunch of nonsense – and that is its intention. A spoof of the ridiculous 1980 romantic musical fantasy movie must be playful, and Stray Dog Theatre leans into the stage musical comedy sendup with full-bodied camp.

The theater company’s affinity for broad comedy romps is well-known, and they’ve presented these types of crowd-pleasers for years, from “Evil Dead: The Musical” and “Triassic Parq” to Charles Busch’s oeuvre “Red Scare at Sunset,” “Vampire Lesbians of Sodom” and “Psycho Beach Party,” among them.

And they gleefully double-down on this show’s cheesiness. Director Justin Been takes great delight in skewering the movie’s premise as a turgid soap opera that’s part “Saturday Night Live” sketch (think of the deliberate exaggerated acting in “The Californians”) and part old-timey Hollywood studio system dream factory, sprinkled with fairy dust.

To fully understand the surprising transformation from movie to Broadway, here’s a little backstory. Somehow, after the film was totally trashed upon its release, it developed a cult audience, and then in 2007, a stage adaptation was Tony-nominated for Best Musical. Stranger things.

The comical book was written by Douglas Carter Beane, who won a Drama Desk Award for it and is known for his musical adaptations of “Cinderella” and “Sister Act.” He wrote the 1995 movie “To Wong Foo, Thanks for Everything! Julie Newmar.” Stray Dog Theatre produced his Tony-nominated play, “The Little Dog Laughed,” in 2014.

Being familiar with the movie “Xanadu” is not a prerequisite to enjoy this farcical show, but it helps if you have some knowledge of ancient Greek mythology, for Beane incorporates the shlocky epic “Clash of the Titans” into his themes, including the Immortals.

Photo by John Lamb

The wackadoodle screenplay by Richard Danus and Marc Rubel was already inspired by the 1947 Rita Hayworth movie “Down to Earth,” which features muses showing up to teach Earthlings a lesson. Fun fact: Xanadu is the exotic name of Mongolian emperor Kublai Khan’s summer palace.

This far-fetched plot doesn’t take itself seriously – or shouldn’t. Set in Los Angeles, the 44-year-old movie focused on a beautiful muse (pop star Olivia Newton-John riding the ‘Grease’ wave) who inspires a young hunky artist (Michael Beck, fresh from “The Warriors”) and his older friend (Gene Kelly! Yes, the ‘Singin’ in the Rain’ icon) to convert a dilapidated auditorium into a hip roller-skating club, all set to the beat of Yacht Rock songs.

She is forbidden to fall in love with a mortal, but two mean-spirited sisters (Calliope and Melpomene) concoct a curse, and chaos ensues. Is it surprising that it was nominated for six Razzie Awards?

At the first Golden Raspberry Awards in 1981, the movie lost the worst picture award to another truly awful musical, “Can’t Stop the Music,” which was a pseudo-autobiography of the Village People and starred then-Bruce Jenner (now Kaitlyn), Oscar nominee Valerie Perrine and Steve Guttenberg (Gotta love the ‘80s!). But the “Xanadu” director Robert Greenwald did take a Razzie home.

See if this makes any kind of sense: Artist Sonny Malone – Phil Leveling having a blast doing ‘beach’ dressed like Malibu Ken and talking like a righteous dude – has completed a mural at Venice Beach that he’s not satisfied with, so he wants to end it all.

He has a chance encounter with Clio, a muse masquerading as a fetching Aussie named Kira who roller skates and wears leg warmers. She sprang eternally from the Mount Olympus artwork, and her effect has made him change his mind. She is played with a wink and a smile by Shannon Lampkin Campbell.

They pair well on their duets “Suddenly” and “Suspended in Time.”

Shannon Lampkin Campbell and Phil Leveling. Photo by John Lamb

However, she didn’t arrive alone. Because Sonny envisioned the Immortals, her six sisters (Zeus’ daughters) magically appear, cavorting in their goddess cosplay – two are guys in drag.

Eight are part of the ensemble in multiple roles: Mateo Bluemel, Sarah Gene Dowling, Lindsey Grojean, Chelsie Johnston, Madison Mesiti, Drew Mizell, Katie Orr, and Lauren Tenenbaum.

Dowling, as Calliope, and Johnston, as Melpomene, inject much humor in “Evil Woman” and “Strange Magic,” two of Electric Light Orchestra’s power-pop songs added to the stage musical.

Sonny’s new dream is to turn an old theater into a roller disco. He tries to convince a wealthy real estate magnet Danny McGuire, a former Big Band musician, to give him the property, and eventually they become partners. But the road to success is rocky.

Kira’s presence re-awakens part of Danny’s past where he had a memorable fling with a look-alike named Kitty. This is all played for laughs, as well it should. That leads to a snazzy ‘40s-style song-and-dance because Gene Kelly played the film role, so of course (“When You’re Away from Me”).

Scott Degitz-Fries, a lithe dancer whose smooth moves on local stages are always admirable, is effortless in these dancing sequences. He has mad roller-skating skills and is a former competitive figure skater (made it to the national finals in high school), so he also served as roller-skating consultant.

Everyone else is trying very hard, and skills vary, but you can’t knock people doing their best given such a demanding challenge.

Photo by John Lamb.

Choreographer Mike Hodges worked the moves out with Degitz-Fries, and he created the bouncy musical group numbers so that it accurately resembles late ‘70s, early ‘80s dance-floor action: “I’m Alive,” “Magic,” and “All Over the World,” with a grand “Xanadu” are bright spots.

A mash-up scene that attempts to duplicate the movie’s “Battle of the Bands” between The Tubes, which was a rock band then (you may recall their 1983 “She’s a Beauty”), and an Andrews Sisters type girl-group circa World War II. Called “Dancin’,” it is a tad messy, and the ill-fitting costumes hamper the girl duo in their movements because of the clingy fabric. Cute little hats, nevertheless.

Costume designer Colleen Michelson’s dresses are mostly distracting and unflattering. Overall, the muses’ cheap-looking chiffon outfits don’t seem suitable, with tacky designs and shoddy material – unless it’s done on purpose? Are they meant to be versions of flimsy Johnny Brock Halloween costumes for quirky ‘80s looks? Costumers must adhere to budgets, but to me, the styles are a disconnect for the female characters. Now the Mount Olympus white gowns are fine, and the guys’ attire is, too.

Music director Leah Schultz and her zesty band keep the beat peppy – Adam Rugo on guitar, Randon Lane on second keyboard, and Joe Winters on percussion. They have added some amusing riffs, too.

Leveling is strong leading the power ballad “Don’t Walk Away” that ends Act I on a good note, while the finale “Xanadu” gets the crowd on their feet.

Campbell set the right tone for Newton-John’s signature 1975 hit “Have You Never Been Mellow” that was added to the stage musical and winds up a memorable ensemble piece.

Photo by John Lamb.

ELO’s Jeff Lynne is credited with music numbers, as is John Farrar, Newton-John’s longtime producer. Their work propelled the soundtrack to skyrocketing sales that ended that year with twice-platinum numbers.

Director Been also simply constructed the set so that movement could flow on the small stage, and it was illuminated well by lighting designer Tyler Duenow.

Because of its lightweight goofy premise that can only be stretched so far, one’s relieved when the wrap-up comes around 2 hours (with an intermission). Pacing is uneven at times, and the show can get a little shaggy. The meaning of this falderal? “Xanadu” is “true love and the ability to create and share art.”

The film came out at a time when everyone had been trying to duplicate the magic of “Saturday Night Fever” and disco, so hot for a brief time, was waning. And the stage musical came out at a time that jukebox musicals were emerging as a trend, such as “Mamma Mia!” and the retro “Hairspray.” Ah, that elusive “Next Big Thing.”

This production of “Xanadu” is well-meaning fluff, with entertaining tongue-in-cheek performances, so don’t expect more – just go with the good vibes coming from kitschy pop culture.

“Xanadu” is going to hit people differently, depending on when and how this tale came into their lives – whether they were young listening to the soundtrack on their Walkman, or today, enjoying a sentimental walk down memory lane.

Photo by John Lamb.

Stray Dog Theatre presents “Xanadu” from April 4 to April 27, Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. April 14 and April 21 at the Tower Grove Abbey, 2348 Tennessee Ave, St. Louis, MO 63104/ For tickets or more information, visit www.straydogtheatre.org

Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

By Lynn Venhaus

Why does contemplating personal accountability and public responsibility remain a potent topic these days?

Questions to ask ourselves, and the debate is put under a microscope in an outstanding example — New Jewish Theatre’s piercing, emotionally devastating production of “All My Sons.”

The illusions we live with – about families, neighbors, and success – results in an acting master class and impeccable direction.

A fascinating drama that showcases one of playwright Arthur Miller’s most explosive commentaries on the American Dream, director Gary Wayne Barker carefully calibrates the intensity while slowly peeling back the layers of gripping moral dilemmas.

In an ensemble full of revelatory performances, each actor brings fresh interpretations to a family – and their friends – unraveling because of secrets and lies. As we have discovered throughout history, it’s the cover-up that is so damaging – and with ripple effects because of an egregious swindle.

Seventy-seven years ago, “All My Sons” debuted on Broadway, and in many ways, is still relevant today. It was Miller’s first commercial hit and paved the way for his other epic commentaries on capitalism, American ‘exceptionalism,’ tangled loyalties, and the price for self-delusion, appearances, and power: “Death of a Salesman” in 1949, “A View from the Bridge” in 1955 and “The Price” in 1961, among them.

Miller based this on a true story, after reading a newspaper article about a similar incident.

Lintvedt, Johnston, Heil and Loui. Photo by Jon Gitchoff.

He has created vivid characters that live in an all-American neighborhood in an Ohio town in the late 1940s, where the locals would like you to believe that they’re living the high life in a setting not unlike a Norman Rockwell illustration.

And scenic designer C. Otis Sweezey was inspired by those popular Saturday Evening Post depictions of post-war prosperity.

The Kellers have been affected by World War II in several ways – their two sons, Chris and Larry served, but Chris (Jayson Heil) came home and works in the family-run munitions factory while Larry did not – he’s been missing in action for more than three years, and everyone but his mother Kate (Amy Loui) has given up on the likelihood that he is alive.

But more than that, military contracts were part of the family business, and selling defective parts has had serious repercussions.

Joe Keller (Greg Johnston) made a careless decision that came to light after faulty aircraft equipment was shipped overseas, resulting in 21 pilots’ deaths.

This misdeed, which he has rationalized and created an alternate reality about, sent his neighbor and partner Steve Deever to prison, while Joe was falsely exonerated, and his sentence commuted.

Still suppressing the secret that has upended their lives and torn apart the people around them, the Kellers are forced to deal with consequences. And a storm is coming, in that carefully cultivated backyard of theirs.

Rarely has a World War II story focused so harshly on disenchantment amidst the winning rah-rah attitude afterwards as incisive as Miller’s play.

Confronting their greed and delving into those expectations that wreak havoc in ordinary lives, supplies the actors with richly textured material.

Johnston, outstanding in last year’s “Uncle Vanya” at St. Louis Actors’ Studio and “The Nerd” at Moonstone Theatre Company (also directed by Barker), has never been better as the patriarch who rules with an iron fist.

In his big booming voice, Johnston, as Joe, boasts about reclaiming his life, thinking that nothing has changed, but everything has, and denial is his tragic flaw.

His son Chris is racked with guilt, and has invited his brother’s girlfriend, Ann Deever (Kristen Joy Lintvedt), to stay at their house. They’ve reconnected and fallen in love, keeping it hidden from his parents. Now, he’s ready to pop the question.

But it’s complicated. Not only was she Larry’s sweetheart, but Ann is the daughter of Joe’s business partner whom he blamed for shipping defective cylinder heads. Ann has not visited her father since he began his prison sentence and believes in his guilt.

Photo by Jon Gitchoff

While Joe was focused on making money and providing for his family, he basically put “America’s sons” in harm’s way through his dishonesty. What is that price worth and what communal responsibility do we have for the greater good?

Joe clings to his power, not believing he put freedom in jeopardy, but the fissures become significant. And this downfall, classic tragedy-style, is meticulously measured by a cast at the top of their game, directed with exceptional precision by Barker.

With a sure hand, Barker brings out the deceptions that everyone in this neighborhood lives with, flush with economic success. It is thoroughly compelling and thought-provoking as he shapes the momentum.

In his perceptive way, Miller delves into moral questions about protecting your family – even though others will be negatively affected, and the nature of being complicit in someone else’s crimes.

Kate, the grief-stricken mother, deludes herself that Larry will return, and finds solace in any reason to continue the fantasy – even astrology that a kind neighbor, Riley Capp as Frank Lubey, works on for her.

A razor-sharp Loui smoothly alternates a quick-silver range of emotions as she won’t admit the obvious and demonstrates how trauma has affected her – nervous and tormented by insomnia, headaches, nightmares. Loui goes beyond the dutiful wife and mother depiction to earn our sympathy – and pity.

Heil conveys Chris’ duty, honor and loyalty in a stunning, powerful performance that builds into an unavoidable catastrophe. Confused and uncertain, he shows both the internal and external struggles in a deeply felt, moving portrait that is a breakthrough role for him.

As the girl next door, Lintvedt is a standout as well. In a smaller but pivotal role, Joel Moses commands attention as Ann’s fuming brother George, a son desperately trying to exonerate his father as the fall guy.

He shows up, seething and full of rage, and stirs up a dark cloud, escalating Miller’s tightly constructed tension. The collateral damage will soon be extensive, and these performers deliver in gut-wrenching fashion.

Zahria Moore and Joshua Mayfield as the Baylisses. Photo by Jon Gitchoff.

The local doctor Jim Bayliss (Joshua Mayfield) is pleasant but growing more cynical in acclimating to social post-war life while his straight-shooting wife Sue (Zahria Moore), a nurse, has claws that come out in more contentious ways.

The cast also includes sunny Summer Baer as cheerful neighbor Lydia Lubey, who stayed there and has three kids, and 10-year-old Shane Rose in his debut as a local youngster, Bert.

 Michele Friedman Siler’s stellar vintage costume design captures the era in comfy casual attire, with George traveling more formally in suit, tie, and hat. Dennis Milam Bensie provided the wig design. Katie Orr’s props match the period as well. Amanda Werre’s sound design is exemplary, and Denisse Chavez’ lighting design provides interesting contrasts.

“All My Sons” grapples with split-second ethical decisions that are life-changing, and this latest New Jewish Theatre production is dramatically impactful and hard-hitting. It should not be missed.

New Jewish Theatre presents “All My Sons” from March 21 to April 7, with performances Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Individual tickets are $27- $58 and are available by phone at 314.442.3283 or online at newjewishtheatre.org.

In line with the difficult themes of war and readjustment to civilian life, the New Jewish Theatre has decided to partner with the Veteran’s Community Project for an exclusive post-show discussion following the March 31 matinee show. After the curtain closes, audience members will have the chance to learn about the work they are doing to provides high quality and well-developed strategic services that enable Veterans to meet the challenges of day-to-day living, resolve immediate crises, and move towards permanent stability.

Photo by Jon Gitchoff.

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

By Lynn Venhaus

Relevant and empowering, New Jewish Theatre’s “Gloria: A Life” celebrates one of the most inspiring women in history with a knockout performance by Jenni Ryan as feminist icon Gloria Steinem.

Ryan wasn’t initially cast as Steinem, but was announced as the replacement on May 27, a mere five days before opening night. Under intense pressure, not to mention a time crunch, Ryan admirably captures the essence of the leading lady, with gumption and authenticity.

Like others who have been called in at the last minute on productions, for the-show-must-go-on on opening night June 1, she did have a script with her, and nonchalantly glanced at it a few times, but without any awkward interruptions. She affected Steinem’s calmer demeanor while other females are venting on inequality.

Ryan was last seen at the J as the mom in “Broadway Bound” in January. This current turn is a real-life triumph when the show is highlighting women’s accomplishments. After all, Steinem refers to herself as a “Hope-aholic.”

Hope and drive permeate this work. And Ryan gets it – why Gloria matters, why this story is important, and why it is crucial that social activism continue in this current political climate.

Photo by Jon Gitchoff

But it’s not a one-woman show. Emily Mann’s play spotlights other remarkable activists who were catalysts for change in the workplace, the home, and politics in the late 20th century.

Mann, a veteran playwright and artistic director, enlisted Steinem’s participation and guidance for this play, which premiered in 2018.

Now 89 years old, Steinem’s legacy is a remarkable one, and this interpretation details how she used her voice to champion others, putting into practice her philosophy that conversations can prompt changes.

For those who weren’t alive during the rise of the women’s liberation movement in the 1960s and 1970s, this gives that time perspective and is a valuable history lesson. But the 90-minute play (without intermission) is not merely a look back at the discrimination and harassment women faced and how they found their voices in unity.

Rather, it is an urgent call to action for today’s pressing issues. Because struggles are ongoing – race relations, reproductive rights, gender equality, gun violence, patriarchy, #MeToo, other freedoms threatened and democracy in peril. (And that’s where the second act comes into play.)

During the first act of Gloria’s journey, a passionate ensemble embodies a revolutionary spirit, with six actresses playing various pioneers of an earlier era and key people in Gloria’s life.

Actress Sarah Gene Dowling is both gutsy Congresswoman Bella Abzug and Gloria’s broken mother Ruth; Kayla Ailee Bush is fiery Ms. Magazine co-founder Dorothy Pitman Hughes; and Lizi Watt is fierce Wilma Mankiller, first female chief of Cherokee Nation, among the prominent figures; and Chrissie Watkins, Summer Baer, and Carmen Cecilia Retzer take on multiple roles, wearing many hats (and scarves).

Civil rights attorney Florynce Kennedy is depicted, as are women wanting to make a difference. Nevertheless, there are some famous not-so-nice guys, people who aren’t fans, and other negative folks among the positivity.

As directed by Sharon Hunter in the J. Wool’s Studio Theater space configured in the round, the women swiftly move in and out, expressing themselves in discussion, fiery tirades, protests, sisterhood bonding, period music and dance. They reflect the conscience-raising efforts of those past decades.

Significant life touchstones mentioned include Steinem’s reporting days (of course the undercover Playboy Bunny magazine piece); co-founding the National Women’s Political Caucus in 1971 with Abzug, Betty Friedan, Shirley Chisholm, and others; co-founding the monthly Ms. Magazine in 1972; and the 1977 National Women’s Conference.

Gloria’s story portion concludes with the Women’s March in January 2017 in Washington D.C., where Steinem spoke to thousands of women wearing pink pussy hats.

Photo by Jon Gitchoff

A lively Dowling excels as “Battling Bella” – who was elected to the House of Representatives for New York City’s 19th district in 1970, and was a driving force in liberal political organizations, supporting the Equal Rights Amendment, a women’s credit-rights bill, abortion rights, and child-care legislation. (In 1974, women could finally get a loan without their father or husband co-signing it, thanks in part to Bella).

It’s also important to note that the cast and crew are all women. Scenic designer Fallon Podrazik kept the set simple for movement and interaction, costume designer Michele Friedman Siler assembled retro fashions representative of the times, while sound designer Amanda Werre created a mélange of important sound bites and familiar tunes, and there is distinct illumination from lighting designer Denisse Chavez.

Props master Katie Orr’s work was particularly demanding, replicating magazine articles and finding Ms. Magazine issues, not to mention making protest signs.

And there is a unique second act, a 20-minute interactive “talking circle,” that seeks audience participation in hopes of harnessing the energy of this production. Playwright Mann thought it was important to engage people and that these conversations could propel folks into action, pointing to Steinem’s mantra “the healing is in the telling.”

The ultimate goal is for people to learn from each other, and as Gloria has said: “This is the way we discover we’re not crazy and we’re not alone.”

Photo by Jon Gitchoff

At several performances, a local Guest Responder is launching the talking circle by sharing their own story of breaking barriers or simply responding to the play. For a complete list, visit: jccstl.com/njt-gloria-a-life.

The night I was there, State Senator Tracy McCreery led the conversation. One of the audience members pointed out that black women were at the forefront of the feminism movement, and that led to more reflections.

While it may seem that the needle hasn’t been moved that much in the past 10 years, I know that I stand on the shoulders of giants, and I am appreciative of the women who fought hard for the rights we now enjoy. After this viewing, I am optimistic, citing the words of “Hamilton”: “This is not a moment, it’s a movement.”

“Gloria: A Life” is certainly galvanizing, and the cast is enthusiastic about the stories they are sharing. It can fire up younger generations and spark renewed excitement by re-activating those Baby Boomers who recall the victories of the past. And Steinem is still fighting for human rights.

And this intimate look is another opportunity for those to marvel at how far we have come– although the work is unfinished. There are more trails to blaze and fires to put out. The play has something to say and the cast underlines it with vigor.

New Jewish Theatre presents “Gloria: A Life” from June 1 – 18, on Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre. For tickets, call 314-442-3283 or go online at newjewishtheatre.org.

Photo by Jon Gitchoff

Addendum: Some follow-up streaming programming:

  • “9to5: The Story of a Movement” is a 2021 documentary directed by Steven Bognar and Julia Reichert,” and currently streaming on Netflix. (It won the Joe Williams Documentary Award given by the St. Louis Film Critics Association. I was on that jury).

  • CNN miniseries “The Seventies” in 2015 – seventh episode is “Battle of the Sexes.” (Max)
  •  In a 2020 Amazon Prime original narrative film, “The Glorias,” Julie Taymor directed four different actresses to play Steinem at different stages of her life — Julianne Moore and Alicia Vikander as adults and Ryan Kiera Armstrong and Lulu Wilson as youngsters.
Photo by Jon Gitchoff

‘Gloria: A Life’ Comes to the New Jewish Theatre June 1-18

‘Gloria: A Life’ Comes to the New Jewish Theatre June 1-18

The New Jewish Theatre will perform Gloria: A Life at the Wool Studio Theatre from June 1 to June 18. Written by acclaimed playwright Emily Mann, with guidance and participation from Gloria Steinem herself, Gloria: A Life explores the iconic feminist’s legacy. Decades after Gloria Steinem began raising her voice for equality and championing the voices of others, her vision is as urgent as ever. This play embodies Steinem’s philosophy that conversation is a catalyst for change as it celebrates one of the most inspiring women of our time.

Sharon Hunter, the director, says she is honored to lead the production. “As our country continues to struggle with painful questions about race relations, reproductive rights and gender equality, Gloria’s leadership continues to inspire many to take up this quest for freedom,” Hunter said. “My hope is that our production will encourage men and women to rally their collective voices and carry on her work.”

In a unique and interactive take, Act II of this play is actually a “talking circle.” After telling Gloria’s story in Act I, the actors will begin a discussion. At several performances, a local “Guest Responder” will launch the talking circle by sharing their own story of breaking barriers or simply responding to the play. This gives an opportunity for the audience to learn from each other, as, according to Gloria this “is the way we discover we’re not crazy and we’re not alone.”

The New Jewish Theatre’s cast and crew will consist entirely of women. Led by director Hunter, this team includes Fallon Podrazik (Scenic Design), Michele Friedman Siler (Costume), Denisse Chavez (Lighting Design), Amanda Werre (Sound Design) and Katie Orr (Props).

Kirsten De Broux, returning to the New Jewish Theatre stage after appearing in 2022’s Laughter of the 23rd Floor, will lead as Gloria Steinem. She is joined by an ensemble of six actors:  Kayla Ailee Bush, Sarah Gene Dowling, Chrissie Watkins, Lizi Watt, Summer Baer (Brighton Beach Memoirs, 2019), and Carmen Cecilia Retzer. They play a wide variety of roles, including fellow activists and icons Flo Kennedy, Dorothy Pitman Hughes, Bella Abzug, Wilma Mankiller, and many more.

“I am thrilled to bring an all-female cast and creative team together for Gloria: A Life,” says Artistic Director of the New Jewish Theatre, Rebekah Scallet. “This play celebrates pioneering women fighting for equality in the workplace, the home, and the political arena, as well as to have control over their own bodies. The world of theatre is still very much male-dominated, especially in the fields of scenic, lighting, and sound design, so it’s wonderful to have this amazing group of talented women collaborating to tell this important story.”

Don’t miss Gloria: A Life at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146), running June 1 to June 18. Performances are Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

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ABOUT THE NEW JEWISH THEATRE:

The New Jewish Theatre is dedicated to exploring Jewish themes and celebrating Jewish writers while examining the full range of the human experience. We present universal work through a Jewish lens, using our productions to enrich lives, promote inclusivity, and build community.

Max and Louie’s ‘Tiny Beautiful Things’ Resonates In Mighty Waves

Max and Louie’s ‘Tiny Beautiful Things’ Resonates In Mighty Waves

By Lynn Venhaus

Heart-tugging and hopeful, “Tiny Beautiful Things” strikes universal chords as it reverberates through a darkened theater.

Now playing at The Grandel, the deeply personal journeys of people who cared enough to reach out to another human, to make that connection in cyberspace, even when they were confused or desperate or sad or angry, will smack you upside your head, resonate emotionally, and may elicit a few tears and some smiles – if you let it pull you in (and why resist?).

Perhaps listening to four people be vulnerable will prompt the proverbial light bulb to come on, illuminating what’s going on in your life. Or by hearing about others’ experiences, you will be comforted too.

The well-worn themes of love and loss provide perspective in this adaptation of Cheryl Strayed’s best-selling self-help book, served up by Nia Vardalos with sprinklings of humor and heaping amounts of compassion. This is not your mom’s yellowed Ann Landers’ clippings.

“Tiny Beautiful Things: Advice on Love and Life from Dear Sugar” was published in 2012, a collection of essays from Strayed’s “Dear Sugar” advice column, which she wrote anonymously on The Rumpus, an online literary magazine. She took it over from her friend, Steve Almond, in 2010. The book also includes essays not previously published.

With a nudge from director Thomas Kail, who was given the book by journalist Marshall Heyman, Vardalos conceived it as a play, mixing in the author’s memoir along with the dating advice and grieving support.

It premiered at The Public Theater in December 2016, starring Vardalos as Sugar and three actors playing various e-mail letter writers, directed by Tony Award-winner and Emmy nominee Kail (“Hamilton,” “In the Heights,” “Fosse/Verdon”), and a revised version returned the next year.

The story’s framework is simple: The writer dispenses words of wisdom, an understanding achieved after many battles of her own, and because she is willing to expose herself to strangers, they in turn disclose their inner-most thoughts and feelings.

With such candid material to work with, producing artistic director Stellie Siteman and managing director De Kaplan knew it was the right choice for their company, Max and Louie Productions, to return with after a harsh 16 months that has changed us all.

Because we endured a pandemic period filled with isolation and self-reflection about our own lives, being with others post-coronavirus quarantine reinforces what we all know but need to be reminded about: We are not alone.

Even with the best of intentions, this could come across very Hallmark cards-like, reducing sentiments to those home décor signs urging us to “Forgive and Forget” or “Live Laugh Love,” but Vardalos and Strayed are too smart to settle for repeating platitudes, as are the women involved in this production.

Vardalos struck gold writing and starring in “My Big Fat Greek Wedding” two decades ago, earning an Oscar nomination in 2003, and Strayed, who was a troubled soul trying to come to terms with her past and present through a 1,100-mile hike in 1995, published that life-changing trek in the 2012 bestseller “Wild: From Lost to Found on the Pacific Crest Trail.” Both are grounded women who have achieved success representing their own lives so authentically, which is the foundation here.

Director Sydnie Grosberg Ronga understood the challenges of this piece and did not embellish it with any unnecessary frills. She approached the play in a straightforward and sincere manner, which is affecting and skillfully presented by this veteran cast, anchored with authority by Michelle Hand.

Greg Johnson and Michelle Hand. Photo by Patrick Huber

The creative team’s collaboration is subtle. The minimal scenic design by master of detail Dunsi Dai suits the intent. Ronga moved, with purpose, the actors around furniture that represents their characters’ homes – including a couch, a bed, a desk and a table. Everything appears lived in, with key items placed by props designer Katie Orr, and exudes a comfortable atmosphere, accented by lighting designer extraordinaire Patrick Huber. Costume designer Eileen Engel selected casual outfits appropriate to the roles.

Two large panels rise above – are those windows to the soul? Hmmm…This isn’t supposed to resemble a psychiatrist’s office, and the set intriguingly widens the reach while narrowing the focus.

As letter writers, versatile stage actors Greg Johnston, Wendy Renee Greenwood and Abraham Shaw strike different tones as they reveal what their assorted characters are looking for or what has defined each of their lives.

As the human faces of email exchanges, they present their questions and responses in a natural way, becoming a de facto support system and sounding board. One of Johnston’s characters blurts out WTF several times, amusing the audience with such a declaration. (The play contains some strong language and adult content).

As Sugar, Hand wrestles with confidence and her conscience, showing the growth of Cheryl and depicting the raw honesty for which the writer is known. That draws the other characters in, and us, too.

Writers are often hard to portray, especially typing at a computer, for the work is such an internal process — unless there are major conflicts. With this format, we don’t follow the 80-minute show like regular storytelling — nor does it reach a dramatic conclusion – but is moving nonetheless.

What makes this so touching then? Could it be as plain as seeking meaning while we find our way, holding on to ideals and keeping faith that things will turn out all right? Or it’s OK to say we aren’t OK? Because having lived through the uncertainty and anxiety of a public health crises, something we are still processing, this performance on Friday night seemed as warm as your grandma’s chunky hand-knit afghan and as familiar as a hug from a cherished loved one.

Strayed doesn’t profess to have all the answers, nor does she say she can fix everybody and everything. But by offering examples of her struggles, exposing herself so openly, somehow, we come out of the dark and into the light. It’s that simple, but that profound.

Hand approaches each role so genuinely that you believe whatever situation she is going through, whether she is Tami, the exasperated mother of an autistic son in “Falling” at Mustard Seed Theatre; Toril Grandal, a cook serving her family’s special pancakes with strawberries and whipped cream to world leaders, in “Oslo” at The Rep; or the broken-hearted lesbian artist Pickles in “Life Sucks” at New Jewish Theatre.

She is best at bringing the humanity out in her characters, real people portraits — (cases in point, Maggie Dalton in St. Louis Shakespeare Festival’s “Into the Breeches!”, who discovers her mettle while her husband is fighting in World War II, St. Louis Theater Circle Best Actress in a Comedy Award 2019; and innocent Rose Mundy, the intellectually challenged sister in “Dancing at Lughnasa” at Mustard Seed).

Anyone with a heart – lonely, heavy, hungry, normal – can relate to the personal stories shared. In a world where empathy seems to be in short supply, this work restores the belief that we get to carry each other, and through that, the broken can be healed.

If you crave the intimacy and insight that live theater can supply, “Tiny Beautiful Things” will reward you.

Wendy Renee Greenwood, Michelle Hand and Abraham Shaw. Photo by Patrick Huber

“Tiny Beautiful Things” is presented without intermission at the Grandel Theatre, 3610 Grandel Square in St. Louis, from July 29 to Aug. 8. Performances are at 2 p.m. on Aug. 1 and 8; at 7:30 p.m. on Wednesday and Thursday, Aug. 4 and 5, and at 8 p.m. Friday and Saturday, Aug. 6 and 7.

Tickets are on sale at www.metrotix.com or by phone at 314-534-1111 or at the box office an hour before curtain. Socially distanced reserved seating is restricted to groups of 2 and 4 consecutive seats, and booth seating is available for groups of 4 and 6. Masks are required.

Max & Louie Productions has received its Missouri ArtSafe certification. To ensure that they may create safely, present safely, and attend safely, they pledge to Covid-19 safe protocols which patrons are encouraged to view at Max & Louie Productions’ website at www.maxandlouie.com.