It really is a yard sale and a play rolled into one kooky experience. A Masha! Masha! Masha! mash-up of absurd comedy and history, “Romanov Family Yard Sale” is another unconventional offering from ERA (Equally Represented Arts) Theatre, always pushing whatever envelope they think needs a prod.
All tchotchkes must go so that these survivors, pushed out of power during the Russian Revolution, can flee abroad. Explained as a “purgation play told in three demonstrations,” we travel back in time to July 1919.
These chapters identify the quirky focus: “Capeetalism,” “The Church of the Great Babooshka,” and “Independence Day.” Life, as they knew it, is over, and their future is scary, given the recent past and unmoored present.
This takes place exactly one year after the last Russian Tsar, Nicholas II, was executed, along with his wife, Empress Alexandra, and their children – grand duchesses Anastasia, Maria, Olga and Tatiana, and only son Alexei, a hemophiliac.
Their distant cousins want to escape to the U.S., with hopes of American filmmakers publicizing their plight. Chrissy Watkins, as very serious Dody, and John Wolbers, as a determined Kirk, arrive with their video cameras, and receive an enthusiastic royal welcome.
This part is fictionalized, but the House of Romanov really ruled imperial Russia from 1613 to 1917, until forced to abdicate and placed under house arrest by those Lenin-led Bolsheviks. That’s when the Iron Curtain came down as the Communist Party took over.
The play’s setting is in a former Tsar-sponsored theater wrecked by those revolutionaries. The loyalists warn us not to sit in a red chair, or we may be shot.
Frustrated by their predicament, they express themselves as people clinging to their old way of life. But they are also protective of each other, like families are.
You might feel like you are entering a reality TV zone. Prior to the performance, tables and racks are laden with goods that are later made available in the lobby. And the cast is already in character, hawking their wares and advising on what to do.
They are really pushing the ‘Baby Beans,” aka plush toy animals that look like the Beanie Babies popularized in the 1990s. There is no such Beanie Baby Bubble Burst in their world.
Ellie Schwetye as Little Yelena.
Using convincing thick Russian accents, aided by dialect coach Keating, an all-in repertory of regular ERA interpreters and other veterans dance, prance, bicker and sing “Take Me Out to the Ballgame” like they are putting on a pageant for their wannabe home in exile.
As part of this eccentric ensemble, they offer us bread, vodka shots, and Anastasia’s hand in marriage while trying to purge all their possessions.
They will collect tickets, and people do walk out with stuff (they even have a basket of plastic bags to carry purchases). Need a VHS copy of “Waterworld” or a well-worn romance novel?
It is not a prerequisite to brush up on Russian history to understand the story, but if you recall a basic outline, and recognize a Faberge egg, you’ll find Courtney Bailey’s clever original play even more amusing. And while the acting is mostly for laughs, their characters’ despair does peek through.
Adam Flores offers a touch of poignancy as bereaved Cousin Alexi, waltzing with his deceased wife, Cousin Katrina (a skeleton often guided by Bailey)..
Lucy Cashion, director and ERA mastermind, is adept at making classic literature structures fresh with unique twists and divergent perspectives.
She keeps the characters swirling so the action is swift, although a tad chaotic at times with 15 people on stage. Resourceful, she also designed the set and the sound and was the video editor.
She last tackled Russia in a Chekhov-inspired “Moscow” drinking game and one-act play produced for the St. Louis Fringe Festival in 2015, and again as a whimsical red-soaked Zoom play fundraiser in 2020.
Bailey, who wrote the imaginative “Bronte Sister House Party” for SATE in 2022, Best New Play Award from the St. Louis Theater Circle, has created another fertile playground for her latest effort.
Last year, the pair humorously combined the John Hughes Brat Pack comedy “The Breakfast Club” with a Bertold Brecht pastiche – and nod to Cold War spies in an East German political satire called “The Brechtfast Club.”
Inspired by Southern yard sales and pop culture touchstones, whip-smart Bailey has inserted references to the 1975 “Grey Gardens” documentary through very funny portrayals by Rachel Tibbetts as Big Yelena and Ellie Schwetye as Little Yelena, a perfect pairing.
She also credits the 1997 Dreamworks animated feature “Anastasia,” the “Independence Day” blockbuster movie from 1996, and Episode #822 of NPR’s “This American Life.” And apparently, Kate Bush’s 1980 song (also misspelled title) “Babooshka” was an influence.
Alicen Moser as Pigbat and Cassidy Flynn as Rasputin.
The spry large cast, some of whom were in “The Brechtfast Club” and The Midnight Company’s recent “Spirits to Enforce” that Cashion directed, includes characters you might recognize from their historical significance.
For instance, always hilarious Cassidy Flynn is Rasputin. He makes a dramatic entrance, in a stringy raven-haired wig with a shock of a silver streak, and black garb, as the controversial figure – charlatan or mystic, visionary and faith healer?
His sidekick, Pigbat, is played in disguise by Alicen Moser. I did not fully understand that character’s purpose, possibly only to add sight gags as she flaps her white Russian wings?
Ashwini Arora has fun toying with the public mystery of princess Anastasia – who may be dead or may be an imposter, or who might actually have escaped. That tale has been the subject of movies, plays and musicals, so the ERA collaborators incorporate the legend and surrounding confusion.
Three strong actresses play sisters named Masha like they are part of the Brady Bunch (of course!) – Celeste Gardner, Kristen Strom, and Maggie Conroy are engaging maidens, who can be kinda bitchy too, moving in unison.
They are outfitted in distinctive peasant garb, which displays the fine handiwork of costume designer Marcy Wiegert.
Exaggerating stereotypes, Miranda Jagels Felix is a hunched over and very worried Aunt Babooshka, wearing the traditional kerchief tied under the chin, and deep-voiced Anthony Kramer looks like a member of the politburo with a tweedy jacket and a thick mustache (that had trouble staying on) as Uncle Boris. He is obsessed with eggs, a running joke.
Multi-hyphenate Joe Taylor is this production’s Most Valuable Player, as he not only composed an interesting original cinematic-like score, but also plays the keyboard, and performed as “A Choir of Raccoons.”
He was the cinematographer for a black-and-white old-timey film called “The Last of the Romanovs” that is played at the conclusion. And added AV technician and music director to his chores, too.
As much as I enjoy watching this collective perform, and I consider their “Trash Macbeth” in 2016 one of the all-time treasures in local theatre, this play is too stretched out and would work better condensed into one act, not two.
A little nipping and tucking would heighten the ‘oomph’ that it achieves intermittently. As funny as Flynn is onstage, and the devilish Rasputin is in his wheelhouse, the middle “Church of the Great Babooshka” segment slumped when it went off on religious tangents, especially the communion.
Admittedly, the wedding ceremony, and plucking a game groom from the audience, was confidently handled, and the revelry was fun. Time for a daffy dance break!
The audience seemed to lean in to all the goofiness that ensues, even if it wasn’t always clear what was happening in this universe that teetered between fantasy and reality.
When you have that much assembled talent, it’s hard to find everyone a moment or two to shine, but they sure had a blast together as a tight-knit unit. These are swell collaborators who make the tiny but mighty ERA standout in the local landscape.
The show is co-produced by Cashion, Felix, Will Bonfiglio, and Spencer Lawton, who also effectively stage-managed. They are fully committed to surprising patrons and making sure their presentations offer something different.
Crisp work by Emma Glose as tech director and Denisse Chavez as lighting designer is also notable.
With their avant-garde experimental nature, inventive ERA always sparks ideas, and they gather the talent to pull off even the most peculiar material. No matter what, they are conversation starters.
ERA Theatre Presents “Romanov Family Yard Sale” from July 4 through July 20, Thursdays through Sundays, at 8 p.m. at the Kranzberg Arts Center (Blackbox theatre), 501 Grand Blvd., St. Louis, MO 63104. It is recommended for audiences age 21+. For more information, visit www.eratheatre.org, For tickets, metrotix.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.
By Lynn Venhaus A daffy delight, “Spirits to Enforce” is a close encounter of the strange kind even in the make-believe world of theater.
This shouldn’t come as a surprise to anyone familiar with the eccentric work of The Midnight Company and visionary writer-director Lucy Cashion who specializes in the unconventional. Only this time, they are vessels for playwright Mickle Maher’s quirky concept.
Maher, a favorite of Midnight Company’s creative director Joe Hanrahan, has infused his absurd comedic caper with comic book stylings mixed with William Shakespeare characters.
Maher, co-founder of Chicago’s Theater Oobleck, his producing home for more than 30 years, is known for creating paradoxical works, often involving classic literature. Both Midnight Company, Cashion, and their assembled team are at home in this very original and unusual world.
The result is as wacky and clever as the Marx Brothers in “Duck Soup,” one of comedian Bob Newhart’s early telephone routines, the whimsical “The LEGO Batman Movie,” and the surreal comedy troupe The Firesign Theatre (popular in the ‘60s- ‘70s).
It definitely has an improvisational troupe vibe, but director Cashion has masterfully choreographed it like a dance/show choir/cheerleading competition where they are going for the gold.
And that care is exhilarating – and special. It’s apparent that this dozen worked incredibly hard on their precise movements and seamless execution. The kooky ensemble is a marvel of impeccable timing, crisp delivery, and a robust take-no-prisoners approach to their roles.
Twelve characters sit at a very long table, like at a telethon phone bank (pre-GoFundMe, Google it), and are tasked with raising money for a superheroes production of “The Tempest.” This is to save Fathom Town from Professor Cannibal and his band of evildoers.
While sitting in close proximity, they appear to be singular in purpose – their crimefighting mission. As a community, they are desperate to drum up support for this benefit performance, and their urgency and frustration are on full display. They project the manic energy and anxiety of an all-nighter when cramming for a college final.
Photo by Joey Rumpell
The story is that they have finally imprisoned their arch nemesis, Professor Cannibal, and are keeping the city safe from fanged, venomous, ambulatory whales (go with it – anything can happen in those multiverses and ‘snaps,’ you know).
“The Tempest” is a tale of shipwreck and magic, explored on an enchanting island setting, with themes of betrayal, revenge, and family, so that adds another layer of interesting texture to the production.
These Fathom City Enforcers are in a secret submarine, and the set-up, particularly with old-timey landline phones with extra-long cords, allows much physical humor to take place while they are skillfully weaving in hilariously constructed dialogue to be heard over the din.
The finely-tuned cast includes some of the most eternally gifted performers in local theater – and their names are followed by their secret identity, superhero identity and character in “The Tempest”: Will Bonfiglio, three-time St. Louis Theater Circle Award winner for comedic performances, as Emorie Lawson/Ariel; Rachel Tibbetts, also a Theater Circle Award winner, as Susan Tanner/Memory Lass/Miranda; Cassidy Flynn as Randell James/The Tune/Ferdinand; Miranda Jagels Felix as Donna Adams/The Silhouette/All Masque Characters; Alicen Moser as Cecily Gray/The Page/Prospero; Spencer Lawton as Dale Clark/The Intoxicator/Stephano; and Joe Hanrahan as Wayne Simon/The Untangler/Caliban.
They are joined by (fairly) newbies Ash Arora as Rebecca Lloyd/The Ocean/Gonzalo; Kayla Bush as Diana Blake/The Bad Map/Trinculo; Joey Taylor as Brad Allen/The Snow Heavy Branch; Ross Rubright as Craig Cale/The Pleaser/Antonio and Celeste Gardner as Oliver Kendall/Fragrance Fellow/Sebastian.
They all mesh in perfect harmony, jagged as it is to depict the stakes of saving the world from nefarious villains while they carry on phone conversations. Their agility with each other is a joy to witness.
The creative team is a league of its own too – costume designers Liz Henning and Eric Widner (the logo!), lighting designer Jayson Lawshee, and music by Joey Taylor. It’s all dandy work – and with the simple Batcave-like set, really adds to the atmosphere. All the office-type props provide the sight gags, too.
Stage Manager Jimmy Bernatowicz and assistant stage manager Morgan Schindler keep the flow brisk. It is presented without an intermission.
The Midnight Company has produced Maher’s “It Is Magic” and ‘The Hunchback Variations,” and their partnership is an enriching artistic endeavor.
Cashion’s superpowers, to create such an entertaining and enthralling show, are on full display here. And her merry band of good guys deliver — they are heroes for more than a day.
Photo by Joey Rumpell.
The Midnight Company presents “Spirits to Enforce” Thursdays through Saturdays at 8 p.m. through May 18 at The Kranzberg Black Box theatre in Grand Center. Ticket information is available at www.metrotix.com or 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 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.
With full moon magic this week, step into the unique and absurd world created by the imaginative minds at SATE ensemble theatre for “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream.”
It’s Shakespeare flipped inside out, an end-of-summer trifle that follows SATE’s award-winning “Bronte Sister House Party” last year and Equally Represented Arts (aka ERA) with their thoroughly clever “The Residents of Craigslist.”
This ensemble is an appealing, adroit, and gifted group that is fully committed to appearing as if they are self-absorbed, clueless, temperamental, needy, and incompetent actors as the Mechanicals, in addition to feuding royals, and mismatched lovers.
The Mechanicals. Photo by Joey Rumpell.
The innovative Lucy Cashion, in a class all by herself, directs here with a touch of whimsy and a focus on the quirky. She is particularly good at dissecting classics and putting her own spin on them, such as “Trash Macbeth” in 2016 for ERA (St. Louis Theater Circle Award for directing) and “Oedipus Apparatus” for SATE in 2017.
She teams up here with the multi-hyphenate Ellie Schwetye, a distinctive writer also good at different takes on Jane Austen (“First Impressions,” St. Louis Theater Circle Award for Best New Play in 2018), who has adapted this version of Shakespeare’s beloved 16th century comedy.
Normally, the play starts with royal wedding planning, gets sidetracked with love potions and mixed-up pairings, and features a troupe of inept actors rehearsing a play as the special occasion entertainment. Instead of being the side hustle, the Mechanicals have the spotlight, and they shine in all their peculiar glory.
So, dive into their world, not knowing where you will go. You may think you know this play, but here, they’re steering the ship into uncharted, yet kinda familiar, waters. And that’s the fun of it.
The Mechanicals are referred to as skilled manual laborers, and others look down on them. But for this amateur troupe, there’s no way to go but up. Kayla Ailee Bush is bellows-mender Francis Flute, Andre Eslamian is weaver Nick Bottom, Anthony Kramer Moser is joiner Snug, Joshua Mayfield is tinker Tom Snout, Ross Rubright is tailor Robin Starveling, and Kristen Strom is carpenter Peter Quince, the director. Strom’s presiding over the circus as if she’s Orson Welles directing the Mercury Theatre.
Victoria Thomas and Ross Rubright. Photo by Joey Rumpell.
Moser is very funny getting into his lion role, and with the others, their idiosyncrasies emerge as they develop the characters for the tragic love story of “Pyramus and Thisbe,” set in Babylon. Andre Eslamian plays Bottom as an insufferable know-it-all. Joshua Mayfield’s Tom Snout is perturbed about how he’s moved around, and so is Kayla Ailee Bush’s Francis Flute. (The sextet is so bad, the audience thinks it’s a comedy). Master thespians, you know.
Well, they may be delusional, but they are giving it their all as they prepare to mount the play-within-a-play, hopeful of entertaining at Theseus and Hippolyta’s royal wedding. Of course, they question their parts, bicker with castmates and Quince, trying to get the attention they need and ‘deserve.’
Now, in context, we don’t see Theseus and Hippolyta here, but they are the toast of the town, as he is the Duke of Athens and she is the Queen of the Amazons.
I digress.
Puck/Robin Starveling (Ross Rubright), Titania (Victoria Thomas) and Oberon (Spencer Lawton) are outfitted to look like old-timey movie stars of the silent era, extras in “The Great Gatsby,” or maybe Puck is the bartender in “The Shining.”
They have an aristocratic air, and wear Liz Henning’s gorgeous period attire beautifully. As the king and queen of the fairies, Titania and Oberon are estranged and feuding, and Thomas and Lawton make that obvious, as if they are reciting lines in a Noel Coward play.
In another flip, Oberon falls in love with Bottom, who’s now costumed as a donkey. Hee-haw! Eslamian and Lawton display deft physical comedy skills during this turn of events.
Oberon and Bottom. Photo by Joey Rumpell.
Dapper in tails, Ross Rubright introduces himself as Robin Starveling as he welcomes the audience. The tall Rubright is visually striking, and then he begins his contrasting monologues, as if auditioning, and reads a commercial for Lunesta, a prescription sleep aid, including a long list of side effects. It sets the mischievous mood beautifully.
Rubright may not be sprite-size, but as Puck, he smoothly moves around creating dazed and confused mayhem with his lantern, wafting potion, and magic powers.
That iconic butterfly logo will be referred to several times and its shimmering wings used in another ‘wow’ vision from Henning.
Now the star-crossed lovers make an appearance too, as the cast doubles roles: Hermia (Bush), Lysander (Moser), Helena (Strom), and Dementrius (Mayfield). In Shakespeare’s original, Hermia is in love with Lysander, but her father wants her to marry Demetrius, who is in love with her, but Helena is in love with him. It’s complicated.
The creative team is first-rate, too, with Erik Kuhn’s atmospheric lighting design noteworthy. Joe Taylor’s original music score is a delightful throwback to such ‘30s styles as “Moonlight Serenade” and Cole Porter.
Cashion and Schwetye collaborated on the scenic design – a summer house’s study where Titania and Oberon are ensconced, and use front space for the woodland where rehearsals are staged. Jimmy Bernatowicz, the stage manager, and Rachel Tibbetts, the co-producer, also contributed to the overall experience.
The Mechanicals. Photo by Joey Rumpell.
The play has a fantasy quality reminiscent of the 1935 movie, which is mesmerizing in its depiction of the glistening fairies frolicking in the forest created through rudimentary visual effects back then. (The casting is memorable too – James Cagney is Nick Bottom and Mickey Rooney is Puck!)
“This Palpable Gross Play” is tantalizing with its witty take on illusions and theme of metamorphosis. The folly is fun, thanks to the harmonious cast and crew’s efforts. Adventurous theatergoers can applaud their good fortune at seeing a fresh interpretation of an enduring classic.
Note: The script of “This Palpable Gross Play” will also receive productions with Clayton High School and with Prison Performing Arts. SATE is presenting “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream” Aug. 16 through Sept. 2, with performances Wednesday through Saturday at 8 p.m. at The Chapel, 6238 Alexander Drive. It is 90 minutes without an intermission. Tickets are $25 and can be purchased through Eventbrite. For more information, visit www.satestl.org.
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.
ERA’s album will premiere at the Album Release and Listening Party at Off Broadway on June 3, 2021 at 8 p.m. Equally Represented Arts (ERA) presents “SHE” ALBUM RELEASE & LISTENING PARTY INFORMATION Thursday, June 3, 2021 Doors open at 7 p.m. Radio play begins at 8 p.m. at Off Broadway, 3509 Lemp Ave, St. Louis, MO 63118
Tickets are $10 and can be purchased at the door or in advance at offbroadwaystl.com Off Broadway will have capacity limits and employ safety precautions as outlined on their website and social media channels.
DIGITAL ALBUM PURCHASE INFORMATION SHE will be released as an album for digital purchase via bandcamp at eratheatre.bandcamp.com. Album price will be $10.
ABOUT SHE SHE controls the radio station of the fascist regime in power. SHE’s also the star of the broadcast. Her recording studio abounds with music and oysters. But in the nearby government camps full of misfits and would-be revolutionaries, only torture and starvation is thick on the ground. Tonight, however, SHE’s realm feels different. The bombs sound closer. Time moves faster. But SHE will finish her radio show, and it will be her finest. If executing every number in the broadcast means some people need to die, so be it; it is a small sacrifice. The citizens need her and she will not let them down.
COLLABORATORS Written by Nancy Bell. Music composed by Joe Taylor. Lyrics by Nancy Bell. Director: Lucy Cashion Stage Manager: Miranda Jagels Félix Assistant Stage Manager & Intern: Spencer Lawton Production Managers: Will Bonfiglio, Lucy Cashion, & Joe Taylor Artwork: Martin Brief Marketing: Keating Pre-Mixing: Joe Taylor Mixing & Mastering: David Beeman with Nancy Bell………………SHE Will Bonfiglio……………Nils (the brother) Gabe Taylor…………….Fritz (the production manager) Alicen Moser……………GIRL (the wandering spirit of SHE as a child) Mitch Eagles…………….Michel (the loyal one) Joe Taylor……………….George (the music director) Anthony Kramer………..Max (the back-up vocalist) & P.A. Voice Additional Vocals: Taylor Tveten Piano: Audrey Morris & Joe Taylor Bass: Andy Hainz Percussion: Dustin Sholtes Saxophone & Clarinet: Matt McKeever Violin & Guitar: Kevin Buckley Trumpet: Ryan Torpea Accordion: Jessica Adkins Foley: Lucy Cashion & Joe Taylor
Recorded by Joe Taylor at Kid Scientist Studios & David Beeman at Native Sound Recording on Cherokee Street, St. Louis, USA
With public support from the Missouri Arts Council, a state agency.
About ERA Equally Represented Arts (ERA) is an experimental theatre company based in St. Louis, Missouri. Theatre is a collaborative, multi-disciplinary, live art form. ERA’s mission is to use the elements unique to theatre’s identity to expand the possibilities for what that art form can be and challenge our community’s expectations for meaning in theatre, art, and the world. We root ourselves in the belief that all theatre’s components are equal and that innovation stems from experimentation. We are an ensemble company. We make our work collectively and consider all artists involved in a project equally essential to that project. We believe that actors are creative artists. Our process for each production is unique to that production. For more information, please visit eratheatre.org
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.
ERA’s Moscow! is a drinking-game version of Anton Chekhov’s play Three Sisters.
Join the Prozorov sisters, and their comrades, in existential crisis – it’s all the fashion these days. May 21-23, 28-30, with Thursdays and Fridays at 8 p.m. CST | Saturdays at 1 pm CST Performances are entirely virtual via Zoom. Pay-what-you-can to reserve your spot and get the link https://www.artful.ly/era
Olga, Irina, and Masha are sisters living in an insignificant town in Russia. They spend a lot of time talking about how all they really want to do is go back to Moscow, where everything is better. The town’s people come and go through the sisters’ house, which they own with their brother, Andrey. Everyone is so emotionally erratic – is it because they’re Russian? Perhaps it’s because they’re drunk. Three Sisters examines the frivolity of privileged life; Moscow! intensifies it with live music, dancing, and vodka.
Due to the COVID-19 pandemic, ERA will live-stream its performances of Moscow! and all artists will perform from the safety of their respective isolated locations. Because of the significant change in format, ERA will not charge money for patrons to view the live-streamed performance but asks that those who are capable of making a tax-deductible donation to the company consider giving an amount appropriate to their resources. Free tickets can be ‘purchased’ at our online box office (https://www.artful.ly/era). Purchasing free tickets does NOT require credit card info and exists to deter Zoom bombers. Also, each performance has a limited viewer capacity.
Visit ERA’s website or social media pages for more information.
About ERA:
ERA is an independent, experimental theatre company based in St. Louis, MO. We believe theatre is a collaborative, multidisciplinary, live art. ERA’s mission is to use these elements inherent to theatre’s identity to expand the possibilities for what theatre can be. We root ourselves in the belief that all theatre arts are equal and that innovation stems from experimentation.
Will Bonfiglio: Producer & House Manager Lucy Cashion: Director, Designer, & Producer Carson Cosper: Production Assistant Miranda Jagels Félix: Stage Manager Emma Hersom: Assistant Stage Manager Keating: Producer, Marketing & Communications Spencer Lawton: Production Assistant Joe Taylor: Music Director & Arranger Gabe Taylor: Production Manager Marcy Wiegert: Costume Designer
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.
Greetings! This is a people, places and events column about local and
national showbiz items that will appear regularly. Feel free to message me with
interesting tidbits.
Today we provide some ways to fill your
quarantine days and nights, a list of resources for artists, updates on the
Theatre Proms and more.
MRS. AMERICA: St. Louis anti-feminist icon Phyllis Schlafly was an Alton, Ill. housewife when she gained national attention in conservative politics, fighting the Equal Rights Amendment and founding the Eagle Forum in 1972. She’s the subject of a nine-part miniseries, “Mrs. America,” which starts Wednesday, April 15 on Hulu. The first three episodes: “Phyllis,” “Gloria” and “Shirley” will air then, then each week through May 27, depicting the battles between Schlafly and the leaders of the women’s movement in the 1970s.
The cast includes Cate Blanchett as Schlafly, Tracey Ullman as Betty Friedan, Rose Byrne as Gloria Steinem, Margo Martindale as Bella Abzug and Uzo Aduba as Shirley Chisholm.
Fun fact: I saw Schlafly debate Betty Friedan on the ERA during college. Phyllis came up to the podium, looking like Betty Crocker, and said: “How many women want to get drafted?” A guy in the audience yelled out: “How many men do?” When Betty came up, in a mumu, she clearly had the crowd on her side. Illinois State University, 1973.
*** THEATER PROMS: Springtime is awards season for the theater community, but this year, the mandatory Shelter-in-Place doesn’t allow gatherings of 10 or more. Therefore, events have been cancelled, rescheduled and rebooted
Often referred to as “Theater Prom,” the eighth annual St. Louis Theater Circle Awards ceremony was to take place on March 30 at the Loretto-Hilton Center on the campus of Webster University, but the event had to be cancelled. Local theater critics still honored outstanding regional professional theater.
Instead, HEC provided a streamcast of the awards on
Tuesday, April 7, at 7 p.m. on their Facebook page. The event was downscaled
reading of the nominations and awards, but hey, it’s #TCA20. You can still see
it! Here is the YouTube link:
The theater critics recorded the nominations, and their voice-overs ran over photos. Then HEC announcer Rod Milam announced the winner. There were 34 categories to give awards in, which cover dramas, comedies and musicals. All in a half hour.
Many thanks to HEC Media, including Dennis Riggs, total pro announcer Rod Milam and ace producer Paul Langdon. Thanks to our theater buddy Andrea Torrence for the work on the graphics – the photos really made the virtual. event “pop.” I applaud your sharp professional skills and your devotion to local theater.
A special award was given to Ken and Nancy Kranzberg for their tremendous support and commitment to the arts. Where would St. Louis arts be without the Kranzbergs?
Congratulations to the winners AND the nominees, and
everyone who gave of their heart and soul to produce live regional professional
theater with such passion and panache in 2019.
It truly was a fantastic year, especially for drama, and
what a crowded field of talent among the 125 artists nominated and 51 shows
from 25 different companies.
It is a privilege to see such a variety of theater during
the year, and as a founding member of the St. Louis Theater Circle, it has been
a real joy these past eight years.
In due time, we’ll be back in darkened theaters watching
people create magic. We’ll get to hug and laugh again, and marvel at this thing
called art that connects us all.
Even virtually for one evening — that was a welcome respite
from the sad, terrifying and anxious daily news, wasn’t it, in what’s become
the norm in our current global pandemic. People really seemed to enjoy it,
lifted spirits – some casts had Zoom parties.
I look forward to seeing you all again, in the “After
Times.”
In community theater, the Arts For Life board of directors
presents two awards events each year, the Best Performance Awards honor musical
theater and youth productions, and the Theatre Mask Awards honor straight
plays.
The fifth annual Theatre Mask Awards, which honors both dramas and comedies, was to take place at a brunch on Saturday, April 4, at The Atrium Center at Christian Hospital. However, it has been rescheduled for July 18.
The 21st annual Best Performance Awards is scheduled for Sunday, June 14, at 2 p.m. at the Skip Viragh Center for the Performing Arts at Chaminade. However, the AFL board of directors will decide shortly on whether the event will be moved. Stay tuned.
For more information and to see lists of nominations, visit
www.artsforlife.org.
You can get tickets to both events for the special price of $40. Visit www.artsforlife.org for
more information and to see a complete list of nominees.
Emcees are Donna Northcott, a theater professor at Lindenwood University – St. Charles, for the TMAs, and local singer-actress Karen Fulks for the BPAs.
(Full
disclosure: I am a founding member of the St. Louis Theater Circle and I am on
the Board of Directors of Arts For Life).
***
HELP IS HERE: How can you help all the artists around the region and homebound folks around the region? During this unprecedented time of isolation, Stay-at-Home mandate, social distancing to #flattenthecurve, here are some resource links:
This fund will provide short term monetary relief to
employees and owners of independent bars, restaurants, and shops in the St.
Louis area affected by closures and other circumstances brought about by the
COVID-19 outbreak.
The fund will be used to direct resources to regional
nonprofits that are working with local communities disproportionately affected
by the coronavirus crisis and its economic fallout.
Any individual artist living in the St. Louis metro area
who has had an event, gig, or paying opportunity canceled due to the COVID-19
crisis can apply for funding.
Support for Artists and Production Crews:
• I Lost My Theatre Gigs resource list and donation site:
https://ilostmytheatregigs.squarespace.com/
The National Domestic Violence Hotline: https://www.thehotline.org/ Hotline:
1-800-799-7233 Text support: Text “LOVEIS” to 22522
Broadway may be dark, but today you can be a light for the
theater community.
Broadway Cares/Equity Fights AIDS launched the COVID-19
Emergency Assistance Fund to help those onstage, backstage and behind the
scenes during and after the coronavirus pandemic. Through your donation to this
special fund, administered by The Actors Fund, you can ensure entertainment
professionals get the health care, emergency financial assistance and
counseling they need.
Any others I miss?
*** THEATER UPDATES: I try to keep up with the latest news on cancellations and postponements. Here’s the new one. https://www.poplifestl.com/?p=1845 ***
THE SHOW MUST GO ON: OverDue Theatre Company had to cancel “My Fair Lady” this spring but has put together a Quarantine Concert for Facebook Live on Friday, April 17, at 7 p.m. Special guests include Kaitlyn Mayse, Lauren Molina and Nikki Snelson. Featuring Kimmie Kidd, Eleanor Humphrey and Kay Love, there are 17 performers from the OverDue family who will perform too.
SOME GOOD NEWS: You know him, you love him from “The Office,” the immortal Jim Halpern of the Jim and Pam office romance. Actor John Krasinski has started his own web series, “Some Good News,” and the first episode on March 29 was such a hit, he has produced two more, all dropping on Sunday nights. It’s both inspiring and distracting.
The first one features an interview with Steve Carell, as they reminisce about “The Office.” Watch here: https://youtu.be/F5pgG1M_h_U
You can follow his page on Facebook for updates and a link
to submit good news.
*** CINEMA STL: Like everyone else, Cinema St. Louis has rescheduled some events. Here are the new dates/information: Classic French Film Festival: Working to move to late July/early August; St. Louis Science Fiction and Fantasy Short Film Festival: Moving from May 1 to hopefully this summer; QFest: Moving from mid-May to possibly July; Filmmaking camps: Camps slated for June and July will continue as scheduled for now; I Love Movies Trivia Night: Still scheduled for Friday, June 5, with backup dates of Friday, Aug. 28, or Friday, Sept. 4; St. Louis Filmmakers Showcase: This event is currently scheduled to go on as planned in July – deadline May 31; Golden Anniversaries: Films of 1970: The six-film fest is now slated for the following Saturday-Sundays: Aug. 22-23, Aug. 29-30, and Sept. 5-6 at the St. Louis Public Library’s Central Library; SLIFF: Hoping to go as scheduled in November.
*** TEAM LEGEND: About a year ago, singer-guitarist Joanna Serenko won the St. Louis Teen Talent Showcase, sponsored by the Fox Performing Arts Charitable Foundation. Now she’s a contestant on “The Voice.”
Joanna Sorenko
The poised and talented 2019 Kirkwood High School graduate had
a four-chair judges’ turn for her blind audition during Feb. 24 night’s season
premiere. She sang Amy Winehouse’s R&B rendition of The Beatles’ classic
“All My Loving,” and new judge Nick Jonas fought for her to be on his team.
Here’s her performance link:
The Battle Rounds began March 23, and Joanna was paired
with Roderick Chambers to sing Billie Eilish’s “When the Party’s Over.” Here is
the duet:
https://youtu.be/lVmvz9v5KgE
Kelly Clarkson described their duet as “effortless and
beautiful and passionate,” and coach Nick called her a “flawless singer” but
picked Rod as the winner — then John Legend stole Joanna, so she advances to
the Knockout Rounds on Team Legend. EGOT Legend said she had a lot of “style
and grace” in her voice.
Both the Battle and Knockout Rounds were taped earlier, so
they aren’t affected by the virus shutdown. However, the live shows in May
might be, which follows the Knockout Rounds. Go Joanna! (Tune in April 13).
For the first show, a viewing party took place at the Marcus
Des Peres Cinema. Due to the pandemic, that can’t happen now. If it starts up again,
I’ll let you know.
She used to sing in the choir at Kirkwood’s United
Methodist Church and moved here from Cleveland in 2010.
***
AND THAT’S A WINNER: Sports commentator and hometowner Joe Buck is reaching out to sports fans, asking them to send videos so he can provide a “play-by-play” of what they’re doing while staying at home — perhaps dribbling in place? Just be careful what you send him.
*** HARRY POTTER INTERACTION: Want to escape to fantasy worlds during this global pandemic? “Harry Potter” author J.K. Rowling has launched a new website called Harry Potter at Home – a free magical resource to keep readers of all ages entertained while staying at home. In addition to the existing interactive features on WizardingWorld.com, the site creators have added new activity kits, “nifty magical craft videos,” quizzes, puzzles, and more. You can also listen to the first book on Audible for free or download and read it from a digital library.
*** AND HE SCORES! Congratulations to Tom Calhoun, one of the nice guys in local media and the St. Louis Blues announcer for 33 years, who was recognized with three honors by the St. Louis Sports Hall of Fame. He was recently inducted, presented with the President’s Choice Award and given a commemorative 1500th-game plaque at the fourth annual Illinois Enshrinement Dinner.
Tom Calhoun, Tom Morris and Laila Anderson
A veteran of KMOX, WIBV and other stations, he is currently an adjunct communications professor at Southwestern Illinois College and general manager of its campus radio station, Blue Storm. He has never missed a Blues game since 1987 — until the global pandemic sidelined the team and the NHL cancelled the season. (Just think: a year ago, on April 10, we won the first of the 16 games we needed to win in the Stanley Cup Playoffs).
Cutline: Pictured, left to right, Tom Calhoun, head of the St. Louis National Hockey League Off-Ice Crew Tom Morris and St. Louis Blues inspiration and “super-fan” Laila Anderson. Photo by Bill Greenblatt
APPLAUSE, APPLAUSE:The Black Rep was awarded the August Wilson American Century Cycle Award by Christopher Rawson of the Pittsburgh Gazette on its opening night of “Two Trains Running.”
In 2008, they were the third company in America to complete
the 10-play American Century cycle and are currently two-thirds of the way
through it for the second time. Each of the 10 plays are set in a different
decade of the 20th century.
The Black Rep board at ceremony – Rawson at far right. Photo by Phillip Hamer.
Rawson, the newspaper’s senior
theater critic and an August Wilson House board member, made the presentation
Jan. 10. The award was established only recently, so presentations are being
made gradually to the 15 qualifying companies.
“August is still alive, first, in the people,
places and stories from what we call August Wilson’s Hill, and second, in the
theaters around the country that bring them to life. This award, presented
jointly by his hometown newspaper and his childhood home, celebrates the
conjunction of these two. It says that we are all connected in August’s work,
through our recognition of its rich humanity and spiritual passion,” he said.
Wilson’s widow, Constanza Romero Wilson, sent thanks to The Black Rep “for your ongoing support of his legacy and for continuing to tell the stories for many generations to come. You ‘belong to the band’!” The quotation comes from Wilson’s “Gem of the Ocean,” where “the band” refers to those who struggled to free black Americans from slavery and Jim Crow.
Meadow Nguy
*** IN THE CREDITS: Meadow Nguy of O’Fallon, Ill., makes an appearance in the seventh episode of the new Amazon Series “Hunters” starring Al Pacino. She was seen in “Law and Order: SVU” last November, and has been on “Madam Secretary” and “The Blacklist.” She moved to New York after graduating from Indiana University with a degree in musical theater. She appeared on stages in St. Louis, including the 2012 “Spring Awakening” at Stray Dog Theatre and their world premiere of “Spellbound,” and in the metro-east during her high school years. She won the Illinois Musical Theater Award, her ticket to the Jimmy Awards in 2012.
*** BOOKSHELF: New Line Theatre Artistic Director Scott Miller is also a prolific writer. His latest, “Idiots, Heathers, and Squips,” digs into a new batch of original, interesting musicals produced the first 15 years of the millennium.
He does deep dives into these 11 that represent “the astonishing variety and fearlessness of this new Golden Age: Urinetown, Sweet Smell of Success, Jerry Springer the Opera, Passing Strange, Cry-Baby, Next to Normal, Bloody Bloody Andrew Jackson, American Idiot, Heathers, and Be More Chill.
LISTEN IN: MK Andersen’s“The First Hundred Days.” She is inspired by the idea that if the first hundred days of a presidency are the most pivotal and important, then the first hundred days of X,Y and Z must also be important. New ones are released every Tuesday: https://yourdaybymk.com/podcast-first-hundred-days : MK, who operates a wedding planning business, is a graduate of University of Notre Dame with a bachelor’s degree in political science. For the podcast she has talked to a writer at Netflix, a former university president and others. In episode 2, a fascinating talk with former FCC Chairman Newton Minow (1961-1963) is here. Minow, 94, served under President Kennedy. He practices telecommunications law in Chicago and in 2016, received the Presidential Medal of Freedom from Barack Obama.
Fun fact: “Gilligan’s Island” creator Sherwood Schwartz named the tiny ship that took that fateful trip for Minow because he thought he had ruined television. Minow is noted for a speech in which he called American television a “vast wasteland.”
Reel Times Trio
*** REEL TIMES TRIO: Of course I’m going to plug my own, Reel Times Trio podcast, which is Carl “The Intern” Middleman, myself and a rotating guest to discuss the latest movie releases, what’s out on DVD and streaming, what’s new in Hollywood and Broadway, what’s happening locally, good TV and more.
We’re on iTunes and SoundCloud, and have a Facebook page where we post episodes each week. We also are posted here at PopLifeSTL.com During the pandemic, after a brief layoff, we have transitioned to Zoom. Find us here: https://soundcloud.com/lynn-zipfel-venhaus
Bill Hader and Henry Winkler in “Barry”
*** ICYMI: Need something to do? HBO has unlocked the vault on nine popular series that you can watch for free on HBO Now or HBO Go, or if you have cable TV, now through May 31. The shows are: Barry, Big Little Lies, The Wire, The Sopranos, Succession, Veep, Silicon Valley, Six Feet Under, True Blood and Ballers.
Need to know where you can find a movie to watch, whether
it’s streaming or not? Check out www.justwatch.com or
download the app on your phone.
Did you miss Andrea Bocelli’s free streaming concert from Milan on Easter Sunday? Here is the YouTube link to the half-hour concert, featuring the famed opera singer performing “Ave Maria,” “Santa Maria” and “Amazing Grace”: https://youtu.be/huTUOek4LgU
He told NBC News: “I believe in the strength of praying
together. I believe in the Christian Easter, a universal symbol of rebirth that
everyone – whether they are believers or not – truly needs right now. Thanks to
music, streamed live, bringing together millions of clasped hands everywhere in
the world, we will hug this wounded earth’s pulsing heart…”
One of the best ads yet on staying safe for the good of a city, Here’s Doner Advertising Agency’s uplifting message to Detroit: https://youtu.be/JJzlXhXrD7I
*** MEMORY LANE: Valentine’s Day marked the 50th anniversary of bestseller “Love Story,” the young romance that had hearts aflutter back when I was in high school. This is actually my own book cover.
*** WORD: “The world needs artists more than ever to remind us what truth and beauty and kindness really are.” — Terence McNally (1938-2020), in his Lifetime Achievement Award speech at last year’s Tony’s.
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.
Several visionary local artists proved that fortune does favor
the bold through their efforts to present a gift to a theater-starved community.
This precious lifeline was “Mute: A Play for Zoom” on Sunday,
April 5. We experienced an original 5-person 30-minute play on the internet
with a hundred other people that Sunday night, boldly going where no one had
gone before.
This absurdist apocalyptic academic farce was a burst of
creativity and a jolt of connectivity like the sun coming out on a cloudy day.
A maiden voyage by playwright Nancy Bell, director Lucy Cashion
and production manager Spencer Lawton explored our strange new world of making
art during a quarantine. It starts out as a video conference call among
colleagues at a university. For these academics, there is confusion, and eventually
fire – and a hamster.
How it all came together was truly remarkable — ignited a
spark, a surge of energy that took us out of our stay-at-home melancholia and
made us appreciate authentic art and true talent.
It was like I was on a new adventure without leaving my couch.
The five-person cast included several lauded veterans and standout
newcomers as colleagues. St. Louis Theater Circle Award winners Michelle Hand
(a very nervous Maria), Michael James Reed (agitated Trent), Keating (trying to
hang on Fiona) and Sophia Brown (mysterious Lila and Man Ray) performed with their
customary immersion into character as well as Delaney Piggins, so good at New
Jewish Theatre’s “I Now Pronounce,” as confused Heather and Jakob Hulten as assistant
Dustin trying to herd the cats and keep normalcy.
They all connected in a believable way, providing distinctive
portraits in a very short amount of time as what the new normal is quickly
erodes into a disturbing situation. Reed mastered delivery of a barrage of new vocabulary
among his monologues, unleashing a torrent of new words among his distain for
the circumstances. He did it with a complete command of the twisty dialogue.
Worried about technical difficulties, it actually went off without a hitch, and ended abruptly according the script. Just be patient. Zoom is a terrific tool for bringing us all together, and the technical gurus behind this production did a fantastic job.
I have always been grateful we have the brilliance of Nancy Bell as a playwright and an actress and the visionary viewpoint of Lucy Cashion, who is never deterred by convention or obstacles, and noticed them right away as I began reviewing more regional professional theater in 2012.
And “Mute: A Play for Zoom” confirms how lucky we are to have
them producing art in St. Louis.
This is just a thrilling testament to the possibilities of how
to create art in unconventional ways under difficult circumstances.
While this view is indeed apocalyptic, the way it was executed was also life-affirming and uplifting in a bracing way – and to be able to appreciate how we can still connect through storytelling was indeed a lovely surprise gift.
Bravo to everyone involved.
Here is what the cast bios said on their event page:
CAST
Delaney Piggins [Heather] is a St. Louis
Actor/Playwright/Producer, who is excited to do her first “pants optional”
play.
Jakob Hultén [Dustin] is a SLU senior graduating with a BA in
Theatre and History.
Michelle Hand [Maria] is an STL born and bred professional actor
who, in her twenty years at work, has never quite done something like this.
Sophia Brown [Lila/Man Ray] is thrilled to be joining Mute! She
is a local theatre artist, most recently seen with the Imaginary Theatre
Company.
Keating [Fiona] is a kick-ass theatre artist who is madly in
love with STL, co-artistic director of Poor Monsters.
Michael James Reed [Trent] used to enjoy doing a play or two. He
now spends good portions of his day in a cardigan and Crocks.
They took a risk and it paid off.
Note: MUTE: A play for Zoom WATCH PARTY this Sunday, APRIL 12th
at 7PM. DETAILS TBA. https://facebook.com/events/s/mute-a-play-for-zoom-watch-par/159436718663052/?ti=icl
Join us for the watch party!!! Here’s the page where you can get
all the details coming soon.
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
Managing Editor
So, how does one find inspiration to play Mother Teresa? Rachel Tibbetts thought of a popular TV sitcom.
In “The Last Days of Judas Iscariot” at Mustard Seed Theatre, she plays Mother Teresa and two other characters – St. Thomas and Loretta.
“Mother Teresa is such a blast. I am approaching her as Mother Teresa meets ‘The Golden Girls,’” she said.
“I’ve really enjoyed playing three characters. I love the challenge of playing with physicality and voice to move from character to the next.”
The irreverent dark comedy explores the afterlife of former apostle Judas, wanting to know if sin or grief or grace will prevail, and runs from Oct. 1 to Oct. 28, Wednesday through Sunday, with no Friday performance. It is recommended for mature audiences.
The Last Days of Judas IscariotTibbetts is not the only cast member with multiple roles or who switches genders — 27 diverse characters are woven into a courtroom in downtown Purgatory, part of a jury trial to determine if Judas should remain in Hell. After all, who’s to blame/at fault for his notorious place in history, damned for all-time, his lawyer argues.
The historical and Biblical characters are sinners and saints. The play by Stephen Adly Guirgis was originally staged off-Broadway at The Public Theatre in 2005, directed by Philip Seymour Hoffman. Guirgis went on to win the Pulitzer Prize for drama in 2015, for “Between Riverside and Crazy.”
Her longtime friend and colleague Carl Overly Jr. portrays attorney El-Fayoumy.
“Carl and I get to have so much fun on stage together. It’s also very exciting to be included in an ensemble that beautifully reflects our community,” she said.
Adam Flores, resident artist at Fontbonne University, directed the production. Locally, it is the second time a regional company is tackling the show — HotCity Theatre staged it in 2006.
Besides Tibbetts and Overly, the ensemble includes: Courtney Bailey Parker, Rae Davis, Graham Emmons, FeliceSkye, Carmen Garcia, Chelsea Krenning, Jesse Munoz, Ariella Rovinsky, Chandler Spradling, Chris Ware and Eric Dean White.
Active in regional theater for more than 10 years, Tibbetts has become one of St. Louis’ most versatile artists working today.
Little Thing Big Thing with Joe HanrahanIn the past three years alone, Tibbetts has played a nun on the run, a faux vampire, a German matron trying to make sense of the World War II fallout, Athena goddess of war, a spoiled social climber in hell, Lady Macbeth, an exotic secret agent in a Hitchcock movie parody, a Spanish painter and Harvard star-mapper.
She is a founding member of Slightly Askew Theatre Ensemble, and has been in productions at The Midnight Company, ERA (Equally Represented Arts) Theatre, R-S Theatrics, Tennessee Williams Festival, Young Liars and West End Players Guild.
While she has been able to portray many memorable roles, one of her all-time favorite experiences was this past winter, when she played trailblazing ‘astronomer’ (data entry clerk) Henrietta Swan Leavitt in Laurwn Gunderson’s play “Silent Sky” in the West End Players Guild production.
Silent Sky, with Michelle Hand, Jamie Pitt and Rachel Tibbetts. Photo by John Lamb“I don’t know if a day has gone by since we closed where I haven’t thought about this particular line: ‘Because wonder will always get us there.’ Every aspect of working on ‘Silent Sky’ was truly an experience of wonder – the script, the director, the cast, the production ensemble,” she said.
“My grandmother passed away while working on the show. She was always supportive of me as an artist. My heart hurt, and still does, from her death, but working on the show gifted me healing,” she said.
No Exit. Photo by Joey RumpellShe has dedicated her work this year to “Grams.” And she has kept busy.
Tibbetts doesn’t only act — she directed “Run-On Sentence” for SATE this spring. With Lucy Cashion, she co-directed a new adaptation of “Antigone” at the women’s prison in Vandalia, which was a collaboration between Saint Louis University and Prison Performing Arts.
As a co-producer, she is working on a new translation of “Doctor Faustus, or the Modern Prometheus” for SATE, which opens Oct. 31. She co-produced the second annual Aphra Behn Emerging Artists’ Festival with SATE this spring.
She also filmed a movie based on Anton Chekhov’s “Platonov” with ERA Theatre and Sleepy Kitty.
Theater takes up most of her waking life.
After earning a B.A. in theatre from Oklahoma State University, she found an internship opportunity with the Delaware Theatre Company’s education department.
“I had an interest in education as well,” she said, noting that she has worked with Young Audiences of St. Louis and is a graduate of the Community Arts Training Institute at the Regional Arts Commission in 2006-2007.
This year, she marked 13 years with Prison Performing Arts and is currently their Director of Youth Programs.
“It’s very much an honor to create and collaborate with the adult and youth artists in all of our facilities,” she said.
“I have been lucky enough to have always had a job in the arts since college, and I’m very grateful to make my living doing what I love to do,” she said.
Maggie Conroy and Rachel in ERA’s “Trash Macbeth” 2016She moved to St. Louis in 2003. After getting a divorce in 2006, she discovered SATE through her friend Kim. She accompanied her to a training session and met founder Margeau Baue Steinau, and two years later, she met another kindred spirit, founder Ellie Schwetye.
“I am the artist who I am and have had the opportunities I’ve had because of them,” she said.
She considers working with her SATE family “fun, exhilarating and challenging.”
“Ellie and I focus on creating an environment where people can experiment and have fun. It’s also extremely important to us to create a community where everyone – on stage and off – feel like both themselves and their work matter,” she said.
“And I’m really proud of the magic our coven creates – our coven being Ellie, myself, Bess Moynihan and Liz Henning (resident designers),” she said.
Ellie Schwetye and Rachel Tibbetts accepting award for Best Ensemble – Comedy for “First Impressions” at 2018 St. Louis Theater Circle Awards. Photo by Gerry LoveShe and Ellie are the yin and yang.
“Ellie and I work well because we complement each other. We definitely are two different individuals in many ways, and I love that about us. It creates a relationship, both personal and professional, where we can continually grow from working with — and just knowing –each other,” she said.
Because wonder will always get us there.
Here are Rachel’s answers to our Take Ten Questions:
Why did you choose your profession/pursue the arts?
I was obsessed with the movie “Annie” as a little girl. I had the red dress. We owned the record. I would wander around the house singing, “Amaya, Amaya, I love ya Amaya,” because I couldn’t pronounce the word tomorrow. My mom tells me that there are moments where she wanted to get rid of the record because I just wouldn’t stop, but she didn’t, and I am thankful.
My parents always encouraged me to pursue the arts.
They were always taking me to see plays and musicals, but beyond the doors of our homes (my dad was in the Air Force and we moved a lot), I was pretty shy. I finally started taking theatre classes in middle school. It really helped me find my voice and a community. I was lucky to have an incredible drama teacher in high school and she also encouraged me.
2, How would your friends describe you?
Recently, a very dear friend, described me as a love-magnet. I love this. I think they would also describe me as loopy and they know what they mean.
How do you like to spend your spare time?
“Watching the ‘Real Housewives’ and then gossiping about the Real Housewives with my friends Andrew and Carl, hanging at the Crow’s Nest with Bess.”
What is your current obsession?
“Stranger Things.” I can’t leave Target without purchasing a new t-shirt. I now have a one tee limit anytime I leave there. I love everything about that show because it reminds me of everything I loved about my childhood – “E.T.,” “The Goonies,” “Ghostbusters.”
What would people be surprised to find out about you?
“I’m not afraid of spiders. And maybe that I’m 40.”
St. Louis Theater Circle Awards 2018, SATE winners of Best Ensemble – Comedy and Best New Play for “First Impressions”Can you share one of your most defining moments in life?
“In 2006, I got divorced and I was really searching for something, so a good friend of mine, Kim, invited me to join her for a Monday night training with Slightly Askew Theatre Ensemble. Then, I met Margeau. And two years later, I met Ellie. I am the artist who I am and have had the opportunities I’ve had because of them.”
Who do you admire most?
“My mom and dad, Paul and Judy. They are the kindest people I know. And they make me laugh so much.”
What is at the top of on your bucket list?
“To see Kendrick Lamar in concert.”
What is your favorite thing to do in St. Louis?
“Eat cheese and drink margaritas at Mi Ranchito.”
What’s next?
“The Last Days of Judas Iscariot” with Mustard Seed Theatre – actor; “Doctor Faustus, or the Modern Prometheus” – co-producer; and “First Impressions” – directing a remount performance at the women’s prison in Vandalia, Mo.
Her parents are moving here in December, so she has that to look forward to, too.
The Cherry Sisters Revisited. Rachel is bottom row, middle.MORE ON RACHEL TIBBETTS
Name: Rachel TibbettsAge: 40Birthplace: Rapid City, South DakotaCurrent location: Where St. Louis City and Maplewood meetFamily: Paul and Jude, my parents, and my fur kids: Lyric, Monroe, and RubyEducation: B.A. in Theatre from Oklahoma State UniversityDay job: Director of Youth Programs for Prison Performing ArtsFirst job: Server at Simple Simon’s Pizza in Enid, Okla.First role: Cobweb in “A Midsummer Night’s Dream”Favorite roles/plays: Effie/”The Cherry Sisters,” Every role in “R+J: A Telephone Play,” Horatio in “Remember Me,” Henrietta in “Silent Sky”Dream role/play: I don’t have one.Awards/Honors/Achievements: Best Ensemble in a Comedy for “The 39 Steps” (St. Louis Theater Circle) and SATE won “Best Production of a Comedy for “As You Like It” and Best Ensemble in a Comedy/Best New Play for “First Impressions.”
Favorite quote/words to live by: “Because wonder will always get us there…” – from Lauren Gunderson’s “Silent Sky”
A song that makes you happy: “Thriller” by Michael Jackson, and with modern technology we can listen to it whenever we want.
“Judgment at Nuremburg” with Joe Hanrahan. Photo by Joey Rumpell.
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.
