Stray Dog Theatre’s Potent Thriller ‘Extremities’ Still Unnerving Today

Stray Dog Theatre’s Potent Thriller ‘Extremities’ Still Unnerving Today

By Lynn Venhaus

 “Extremities” starts with a jump scare – a violent home invasion, and the situation is every bit as horrific as it would seem. In a pulse-pounding few minutes, Marjorie (Claire Coffey) becomes a victim of a sexual assault.

William Mastrosimone’s intense 1980 play grapples with difficult issues surrounding violence against women, the legal system, personal agency, revenge and morality. This is an uncomfortable, tough watch that will spark discussions afterwards.

Although police procedures have changed in the 46 years since the play premiered, and viewpoints too, especially after #MeToo in 2017, its potency is in how ordinary people act and react in extraordinary circumstances.

Stray Dog Theatre’s production, which is presented as a period piece, takes place in a remote farmhouse. Scenic designer Rob Lippert has created a fragmented, broken-wood set to be a visual representation of the characters’ emotional lives.

Claire Coffey and Andrew Woodard in “Extremities.” Photo by Stray Dog Theatre.

As director Gary F. Bell described in a program note: “lives that have been slowly fractured and damaged by fear, violence, guilt, anger, and the inability to escape the consequences of what has happened.”

In this show, Bell and assistant director Jude Hagene focus on fear, what ifs, and the revenge fantasies going through Marjorie’s traumatized mind.

In a raw, real and relatable performance, Coffey is convincing as a desperate, terrified woman who turns the tables on her attacker and becomes an avenger. During the past few years, Coffey has often portrayed accomplished, confident women, in everything from “Bell, Book & Candle” and “The Mousetrap” to “A Doll’s House, Part 2” – and here she also demonstrates a fierce physicality.

A strong, independent woman, Marjorie is alarmed when Raul walks into her home, looking for a “Joe.” His stories keep changing, he keeps advancing, his tone is sinister, her announcement that her husband’s asleep upstairs is flimsy, and he attacks her.

Claire Coffey as Marjorie in “Extremities.” Photo by Stray Dog Theatre.

In a graphic depiction, he pins her down, forces her to say ‘I Love You,’ demands she touch him, follow his orders or he’ll smother her with a pillow, which he has demonstrated several times.

She fights back, grabbing a can of insecticide and sprays his eyes. Forceful, she subdues him by tying him up in the fireplace. But she can’t call the cops because he’s pulled the phone out (in those days, landline only).

Oh, she rages. What would we do? Would we become the judge, jury and executioner?

 In his Stray Dog Theatre debut, Andrew Woodard is chilling as the sleazy attacker Raul. An unreliable narrator, he makes up his narrative, but he appears to be a psychopath who has been stalking her.

A slick criminal used to bending rules his way, Raul aggressively taunts her, saying because he didn’t rape her, lack of evidence means he will probably be let go. He flaunts the burden of proof argument. (Back then, a woman’s sexual history was still admissible in court.)

Claire Coffey and Lynett Vallejo in “Extremities.” Photo by Stray Dog Theatre.

She’s terrified of the consequences and that he will return someday. The power struggle continues, her methods blurring lines, and this difficult situation becomes a tug-of-war between justice and revenge.

One of the most important duties here is the intimacy/combat choreographer Lisa Fischel. The attempted rape is very graphic – and disturbing. In the aftermath, fighting and torture includes kicks, ropes, boiling water, and a knife. Strong stuff.

One can only imagine the psychological and physical toll of mounting this production – and the stamina the four actors must summon.

Marjorie’s roommates eventually return from work separately, and each has a different response. They are dragged into an impossible situation, and nerves become frayed. Shaken up are Lisa Hinrichs as Terry and Lynett Vallejo as Patricia.

The three women are challenged like never before in their adult lives – shocked, frightened, hysterical, confused. They worry about justice, safety, and civil liberties.

Lisa Hinrichs and Claire Coffey in “Extremities.” Photo by Stray Dog Theatre.

When Raul masterfully manipulates each roommate to gain sympathy, it’s obvious he is gaslighting them, but Terry and Patricia aren’t thinking clearly and take pity on him. He cunningly divides their loyalties.

Kill? Help? Feed? Treat wounds? These possibilities can be debated, as the women argue and insult, and one wonders how credible the playwright’s logic is. Sure, the point is to examine and discuss society’s attitudes and stigmas.

Terry has a secret to share about her own experience, and Patricia, being a social worker, is presented as a ‘liberal’ who respects the law.

Mastrosimone’s backstory includes hearing a rape victim’s story – she identified the rapist but lost in court because of “insufficient evidence.” She wondered if she should have seized her own justice?

Writing from that perspective, one hears and feels his rage. But we don’t have much character development to go on, and what we do know isn’t much. The dynamic is complicated because it’s dated.

Claire Coffey in “Extremities.” Photo by Stray Dog Theatre.

The play, first performed at Rutgers Theatre Company in July 1980, eventually premiered off Broadway in December 1982, starring Susan Sarandon. A 1986 film adaptation starred Farrah Fawcett. Actor James Russo portrayed Raul both off-Broadway and in the film.

It’s meant to be a jolt, a shock to the system. Yet, there are exasperating moments too — When the roommates criticize Marjorie for wearing clothes inviting attention, that’s when it went off the rails. We’re really going there?

Predatory behavior is unsettling, and if we could only view women’s behavior as courageous — but the playwright has added all these gray areas: the blame game, asking for it, objectification and exposing society’s prejudices to create a murky environment.

That lengthens the play, and it’s disconcerting to put the women through this shame cycle, too. The emotions escalate, but the actresses sensitively handle their roles.

The reality of Raul’s story is never presented, so we don’t know what to believe, but he is tortured, and behaves like a trapped animal, then works the situation to his advantage (or so he thinks). That’s believable, but his transformation toward the end is questionable. Sure, he has lost his dominance once he plays the victim card. But should we view him as pathetic?

Andrew Woodard, Claire Coffey, Lynett Vallejo and Lisa Hinrichs. Photo by Stray Dog Theatre

Technical work – lighting design by Tyler Duenow and sound design by Justin Been – adds to the harrowing atmosphere.

This powerful show is for adults only and is unflinching in its difficult storytelling. Triggers may occur with victims of trauma, so that is something to be mindful of – and something not to be taken lightly.

A note on the program states: “This production contains mature themes and intense subject matter, including an attempted sexual assault, physical violence, strong language, restraint, and psychological trauma. The production features emotionally charged scenes that may be distressing for some audience members, viewer discretion is advised.

Stray Dog Theatre’s production of “Extremities” is being presented Aug. 6 to Aug. 22, with performances Thursday, Friday and Saturday at 8 p.m., and special matinees on Sundays, Aug. 9 and 16 at 2 p.m. All performances take place at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. The show is in two acts with a 10-minute intermission and is for mature audiences. For tickets or more information, visit www.straydogtheatre.org.

Lisa Hinrichs as Terry. Photo by Stray Dog Theatre.

The Folksy Charm of ‘The Rivals of Amziah King’ Surprises and Uplifts

The Folksy Charm of ‘The Rivals of Amziah King’ Surprises and Uplifts

By Lynn Venhaus
In “The Rivals of Amziah King,” bluegrass, beekeeping and backwoods buddies keep this folksy fable brimming with surprises – with its twisty story, distinctive characters and strong sense of community.

In his first film in six years, Matthew McConaughey charms effortlessly as the title character. Convincing with his warm smile, deep drawl, and caring demeanor, Amziah is obviously beloved in this weathered patch of Oklahoma. A proponent of hospitality, potlucks and jam sessions, he dispenses poetic wisdom, surrounded by a fiercely loyal crew of eccentrics, misfits and lost souls.

Through superb cinematic storytelling, writer-director Andrew Patterson, whose impressive debut 2020 film “The Vast of Night” was an engrossing sci-fi thriller, has crafted a lived-in world that ebbs and flows with an entrancing Southern rhythm.

With its layered natural look, the cinematography by M.I. Littin-Menz and editing by Patrick J. Smith distinguish this film.

Owen Teague and Matthew McConaughey playing bluegrass.

Yes, it meanders, sprawling in a messy way, but it’s never not true to its roots. The message of integrity, tenacity and shared values strikes a chord in a fascinating found-family tale. Patterson’s on-the-nose metaphors are meaningful – the beehives are as captivating as communities as King’s devoted ragtag inner circle.

The homespun story unfolds in an unhurried fashion and is rich in noteworthy details. An unorthodox river heist is a marvel of ingenuity and determination while King’s tasty tour of dishes at a potluck, revealing the cook behind each recipe, is authentic in its ‘truth or a lie” sage advice.

Of the film’s many highlights, the breakout performance by Angelina LookingGlass as Kateri, who once stayed with Amziah and his wife Glenda when they were foster parents, is a heart-tugger. After Glenda died, Amziah was no longer able to foster youths and Kateri went back to her biological mother. They meet again, and it is kismet. He takes her under his wing as an apprentice, and she’s an unswerving protégé, with an interesting mystical side, too.

Other supporting characters are memorable. Jake Horowitz is street-smart and resourceful fixer Remmick, Scott Shepherd is mush-mouthed eccentric Chimmy, Cole Sprouse is fast-food worker Oat with super-sleuth skills, and Bruce Davis is savvy state investigator Sunderland. 

Kurt Russell as Dob McCoy.

In a brief but pivotal role, Kurt Russell is Dob McCoy, a slick powerful agricultural bigwig who oozes good ol’ boy charm.

Playing music are Rob Morgan as right-hand legal counsel Rippy; Owen Teague as rugged former Marine and fiddle player Pirate; and Tony Revolori as newcomer Colmar, among others.

The toe-tapping music soundtrack is sublime, with songs written by Erick Alexander and produced by T Bone Burnett. The joyous “Quill,” sung during a kitchen jam session with Ben Hardesty, is a standout.

While one can quibble with its thick aw-shucks characters that could lean towards cartoonish if they weren’t so genuine, what Patterson has created has a deeper emotional connection. His use of roots music to tell a tale about roots among people and towns is deftly delivered.

Amziah King demonstrates to Kateri how the hive reacts to the queen bee.

King says “Ain’t no one all bad or all good” and that’s the approach Patterson took writing these colorful characters. It gets a tad unsavory in the final third, as a revenge crime drama takes over.

McConaughey, the charismatic Oscar winner in his first big-screen role since “The Gentlemen” in 2019, is as magnetic as ever. (OK, he did “The Lost Bus” in 2025, but that was a streaming release, and his voice work in the “Sing” movies doesn’t count). The movie is reminiscent of his 2012 “Mud” – about a tight-knit community in rural Arkansas, and has a crowd-pleasing quality, like “The Peanut Butter Falcon” did in 2019.

McConaughey has a sweet, earthy chemistry with LookingGlass, and she lights up the screen when called upon to help save the business.

“The Rivals of Amziah King,” which premiered at the 2025 SXSW Film Festival, has all the makings of a summer sleeper hit, in the same way that “Hell or High Water” became a big August surprise in 2016. At a recent Saturday matinee, the theater was packed with senior moviegoers, which was sweet music to my ears, much like this film.

“The Rivals of Amziah King” is a neo-western crime drama written and directed by Andrew Patterson and starring Matthew McConaughey, Angelina LookingGlass, Owen Teague, Jake Horowitz, Tony Revelori, Scott Shepherd and Kurt Russell. It is rated R for language and some grisly images and the run time is 2 hours 10 minutes. It opened in limited release Aug. 14 and will be released wide on Aug. 21. Lynn’s Grade: A-.

Take Ten with Bryce A Miller

Take Ten with Bryce A Miller

By Lynn Venhaus

Some actors pull you in by their genuine presence and emotional depth, that they understand the assignment to create a believable character and disappear into the role. That would describe Bryce A Miller, a local actor who is the very definition of versatility.

Whether it’s a musical, comedy or drama, you know he is totally present and giving his all. A frequent supporting player who works well with others, Miller has been working steadily for a few years with various professional regional theatres.

Currently, he is charming as Speed, the quick-witted servant of Valentine, in “The Two Gentlemen of Verona,” which is touring the bi-state region for a month of outdoor shows at local parks and plazas.

Thrilled to be making his debut with St. Louis Shakespeare Festival, he also portrays goofy Thurio, a wealthy suitor pursuing Silvia, the Duke’s daughter. With boundless enthusiasm, he often leads the introductions for the opening study guide that precedes the show.

Lilah Kreis and Bryce A. Miller in New Jewish Theatre’s “Prayer for the French Republic.” Photo by Jon Gitchoff.

He is working again with director Rebekah Scallet, who is the artistic director of New Jewish Theatre, but has an extensive background in Shakespeare festival work.

He started those rehearsals following another thoughtful performance in the “Prayer for the French Republic” by Joshua Harmon at NJT earlier this spring. He portrayed Daniel Benhamou, Marcelle and Charles’s son, whose routine wearing of a kippah leads to a violent antisemitic incident.

“’Prayer’ was special for many reasons. First, it was my first time working directly with Rebekah Scallet on a project. She is a fantastic director, and she brings such great, collaborative energy to the room. Also, Joshua Harmon’s plays were very influential to me while in theatre school. Delivering his dialogue feels so natural and easy,” he said.

Miller is having a banner year, having played the peculiar William Barfee in “The 25th Annual Putnam County Spelling Bee” that opened Stages St. Louis’ 40th anniversary season this summer.

Bryce A Miller as eccentric Barfee in Stages St. Louis’ “Spelling Bee.” Photo by Phillip Hamer.

He cracked up audiences as Barfee – that’s Bar-Fay to you because of the accent aigu. Calling it a “dream come true,” he was grateful to be in a crowd-pleasing show.

“It was one of the first shows I ‘discovered’ while developing my love of theatre, and it really spoke to me as an awkward, dorky pre-teen. Also, I’ve seen countless shows at Stages and it’s always been on my list of places I’d love to work at. I’m incredibly grateful for the opportunity they gave me,” he said.

Next, he will portray George in the romantic musical “She Loves Me,” which will run Dec. 3 – 20 at New Jewish Theatre. The 1963 musical about two shop clerks who fall in love as pen pals is the basis for the films “The Shop Around the Corner” and “You’ve Got Mail.”

Earlier this year, he won the St. Louis Circle Award for Outstanding Performer in a Comedy, Male or Non-Binary Role, for his bonkers portrayal of Watson in New Jewish Theatre’s laugh-a-minute farce, “Baskerville: A Sherlock Holmes Mystery.”

Nick Freed as Sherlock Holmes and Bryce A Miller as Watson in NJT’s “Baskerville.” Photo by Jon Gitchoff.

Written by Ken Ludwig as a comedic adaptation of Sir Arthur Conan Doyle’s novel “The Hound of the Baskervilles,” it transformed the classic mystery into a hilarious, fast-paced thriller.

Nearly on stage the entire time, he was a marvel in motion – slapstick goofiness, very physical comedy and sharp comic timing with a crackerjack five-person ensemble (who played over 40 roles and had fast costume changes).

“Watson also served as the narrator, which meant I got to directly address and connect with the audience. That is one of my favorite aspects of live performance,” he said.

He has been honored with two other nominations for New Jewish Theatre’s productions, including his portrayal of a strict Orthodox Jew unwilling to bend in an unhappy marriage when his wife wanted to work outside the home for fulfillment in “The Wanderers,” again working with a tremendously talented 5-person ensemble (all nominated).

Jacob Schmidt and Bryce A Miller in NJT’s “Trayf.” Photo by Jon Gitchoff.

The other one was the sweet buddy comedy in a mitzvah van called “Trayf.” He played the earnest and uptight Schmuel, whose best friend Zalmy tested their faith and friendship through his curiosity about the secular world. His first recognition was as a drama critic in “The Nerd” at Moonstone Theatre Company.

He has worked with Stray Dog Theatre, The Black Rep, The Repertory Theatre of St. Louis’ Imaginary Theatre Company, and Upstream Theater, too.

See all of the above to illustrate his versatility.

His talent and preparedness speak for themselves in all his electric and nuanced performances and characters, said Christina Rios, who has worked with Bryce multiple times with her Riverside Theatre Project in Hermann, Mo. He was in Ken Ludwig’s “Leading Ladies” the summer of 2025 there.

Jade Cash and Bryce A Miller in “The Wanderers” at New Jewish Theatre. Photo by Jon Gitchoff.

“I just also wish folks got to see also what a delightful artist he is during the rehearsal process too: He shows up to rehearsals ready to invest, having already made meaningful choices but also excited to learn and grow more. He is kind and shows deep thoughtfulness towards everyone involved with every aspect of the production – Bryce is the kind of dedicated artist who offers to put away chairs and props at the end of a 3-hour rehearsal, just because it’s a kind and helpful thing to offer. He asks great questions that push the growth and understanding of the piece and I just love collaborating with him,” Rios said.

“We are blessed, in this city, to have so many incredibly gifted performers, and it is such a double blessing when they are also beautiful human beings who care about kindness as much as they care about their craft – and Bryce A. Miller is an excellent example of that kind of artist,” she noted.

Eileen Engel as Anne and Bryce A. Miller as Henrik in Stray Dog Theatre’s “A Little Night Music.” Photo by John Lamb.

Take Ten with Bryce A. Miller

1. Why did you choose your profession/pursue the arts?

You can watch your favorite movie over and over again, and what you’re watching will remain unchanged. But you can see the same play multiple times, and you will always see a different performance from what you saw the time before. Theatre is fluid, collaborative, and exciting. There’s nothing else I’d rather be doing.

Bryce A Miller

2. How would your friends describe you?

Reserved, passionate, quick-witted

3. How do you like to spend your spare time?

Going to the movies, seeing theatre around town, and exploring new restaurants and bars!

4. What is your current obsession?

“The Pitt”! I’m very late to the party but when I started watching it, I’m a little embarrassed to admit that I finished the whole series in only a week or so. 

5. What would people be surprised to find out about you?

I’m a pretty big introvert. I hide it well, but I love my alone time.

I’m also a MASSIVE theatre nerd. This is a bit more obvious if you’ve spent any amount of time with me. I try to see as much as I can around town, and I make my way to Chicago and New York every once in a while, too. (This spring, he saw Nathan Lane and Laurie Metcalf in “Death of a Salesman.”)

6. Can you share one of your most defining moments in life?

My mom took me to see a community theatre production of ‘The Wizard of Oz’ when I was 4 or 5. When the lights came up for intermission, I cried because I thought it was over and I didn’t want it to end. She says this was when she realized theatre would end up being a big part of my life in some way or another.

Bryce A Miller and Jayson Heil in “The Two Gentlemen of Verona.” Photo by Phillip Hamer.

7. Who do you admire most?

My mom. She is incredibly busy and work-motivated, but she still makes incredible amounts of time for those she loves. She could’ve had a 12-hour workday but will still give you the shirt off of her back. I wish I could lead my life with even an ounce of the empathy she has.

8. What is at the top of your bucket list?

Traveling outside the country. In the near future, I’d love to travel around Europe, I’d especially like to go to London and check out their theatre scene.

9. What is your favorite thing to do in St. Louis?

Going out for food/a drink! We are such a great food city, I’ve lived here all my life and my list of places I need to try is still growing.

10. What’s next?

I am very excited and fortunate to be booked through the rest of the year with “She Loves Me.” It’s been a pretty non-stop year.

Bryce A Miller as Barfee in “The 25th Annual Putnam County Spelling Bee” at Stages St. Louis. Photo by Phillip Hamer.

More About Bryce Alexander Miller

Age: 25
Birthplace: Maryland Heights, Mo.
Current location: Valley Park, Mo.

Family: Mom (Gina), Dad (Brian), and 18-year-old brother (Jackson)
Education: BFA in Acting, Sargent Conservatory at Webster University
Day job: Substitute teacher
First job: Washing dishes at Russell’s Cafe and Bakery.
First play you were involved in: “The Three Piggy Opera” in kindergarten. I played The Big Bad Wolf!
Favorite jobs/roles/plays or work in your medium? “The Nerd” and “Trayf” were both career milestones that I will never forget.
Dream job/opportunity: A one-man show!

Awards/Honors/Achievements: One St. Louis Theatre Circle Win: Lead Actor in a Comedy (Ken Ludwig’s Baskerville, New Jewish Theatre), 3 St. Louis Theatre Circle Nominations: Supporting Actor in a Drama (The Wanderers, New Jewish Theatre), Lead Actor in a Comedy (Trayf, New Jewish Theatre), and Supporting Actor in a Comedy (The Nerd, Moonstone Theatre)

Favorite quote/words to live by: “Know your lines and don’t bump into the furniture.”

A song that makes you happy: “Les Fleurs” by Minnie Riperton

Bryce A Miller in “Trayf.” Photo by Jon Gitchoff.

Bravura Performances Illuminate NJT’s Alarming, Volatile ‘JOB’

Bravura Performances Illuminate NJT’s Alarming, Volatile ‘JOB’

By Lynn Venhaus

Taut and tense, “JOB” is an unsettling psychological thriller that will spark a broad spectrum of conversations. While the play’s hot-button issues can be debated infinitely, with few clearcut agreements emerging – one thing is constant: outstanding, riveting acting.

The brilliant performances by John Contini and Kristen Lindvedt are among the best of this or any year.

With his customary gravitas, Contini plays Loyd, a crisis therapist, who is assigned to treat Jane, a tech worker who has had a public breakdown, which was shared by a coworker in a video that went viral. She wants her job back, but the company will only reinstate her if she is approved to do so by a licensed therapist.

Lindvedt, who asserted herself as a memorable Cinderella in New Jewish Theatre’s “Into the Woods” in 2023 and as the ingenue in “All My Sons” in 2024, both at New Jewish Theatre, is a revelation as self-obsessed Jane. She is defiant, defensive, scared, terrifying, arrogant, aggressive and annoying, showing a wide range of emotions.

Kristen Lindvedt as Jane. Jon Gitchoff photo.

First-time playwright Max Wolf Friedlich asks: What is the human cost of living online?

Meant to be ambiguous, this 90-minute two-hander takes place in January 2020, during an on-edge therapy session. It ran on Broadway in 2024 following successful off-Broadway engagements.

Clearly agitated, Jane has shown up in a San Francisco office, and this evaluation is going to be anything but routine. Uncomfortable twists and turns are ahead, and this complex character study is very much a generational face-off, between a Baby Boomer and a Millennial.

Their identities and worldview clash – she’s part of the digital-savvy tech culture and he grew up idealistic with a hippie aesthetic. But there is so much more to explore about the psychological toll of the internet, mental health, and job burnout – perhaps too much to cover in a mere 90 minutes.

Lindvedt, John Contini as Loyd. Photo by Jon Gitchoff.

Scenic designer C. Otis Sweezey’s well-pointed set is where the claustrophobic confrontation takes place as the power play shifts, momentum and moods swing, and anxieties rise.

The conversation is absorbing as the pair settle into an uneasy rhythm – intelligently discussing life and technology, but with an apparent nervousness — a threat of violence is present.

Jane attempts to explain her meltdown as reaction to her intense job moderating extreme online and often criminal content. Yet, her job gives her life meaning, and she takes it very seriously, almost obsessively. (What happens when your job may not be healthy for you?)

How we connect online, through computers, smartphones and social media, raises questions on guilt and innocence, truth and lies, responsibility and apathy.

How does our media consumption affect our world view, and do we feel a responsibility to fight the injustices that we see and hear about daily? Should we help people who need it the most? How do we know what’s real?

Contini and Lindvedt. Photo by Jon Gitchoff.

We expect this somber drama to be divisive, but what is most surprising is how emotionally devastating it can be. With a sense of urgency, director Annamaria Pileggi has discovered relatable nuggets in a dark landscape.

Friedlich was inspired by real-life experiences, after meeting a professional content moderator whose job required reviewing disturbing online content. What happens when people assume the internet is anonymous? What happens to people adversely affected by cyberspace?

Bleak and disturbing, the play dredges up the underbelly of content – the filth that seeps onto screens, and there aren’t any easy answers, especially here. Are we seeing visions that are only in Jane or Loyd’s minds? What are these bizarre images that are conjured between flashes of light?

The artistic ambition is carried out through exceptional lighting design by Michael Sullivan and sound design by Kareem Deanes, which amplifies the city’s street sounds – and then other audio, but questions arise. Is it a sonic landscape of online engagement?

Lindvedt as Jane and Contini as Loyd in “JOB.” Photo by Jon Gitchoff.

Early on, horrifically, we hear the viral video, not seen. Jane’s screams aren’t something you’ll forget anytime soon. Imagine grappling with shocking, violent, depraved images and how shattering it could be to your psyche.

We may not get easy answers we’re looking for, because after all, the lines between perception and reality are blurred. Ultimately, Friedlich’s theatrics aren’t satisfying because actions are neither clear nor conclusive.

He has magnified society’s issues without addressing where do we go from here. Whether someone is talked down from the ledge will always be a sticking point. And both are unreliable narrators.

The big reveal seems implausible, especially if you’ve been paying close attention to the details. What price are we willing to pay to live online?

Kristen Lindvedt, John Contini in ‘JOB.’ Photo by Jon Gitchoff.

Some modern playwrights who’ve pulled the rug out from under us include David Harrower in “Blackbird,” which Pileggi shrewdly directed for St. Louis Actors’ Studio. The audience sat in stunned silence then — and now.

I thought of that unsettling play during this one, feeling jittery and expecting the other shoe to drop, and my similar queasy reaction to “Small Engine Repair” by John Pollano, which has shocking twists as well. (However, no one has attempted to stage that one regionally).

Nevertheless, bravery abounds with this pair, who elevate each other, and make this a tour-de-force not to be missed.

New Jewish Theatre presents “Job” Thursdays at 7 p.m., Saturdays at 2 p.m. and 7 p.m. and Sundays at 2 p.m. from Aug. 6 through Aug. 23. Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: https://jccstl.com/arts-ideas/new-jewish-theatre/current-productions/

JOB. Photo by Jon Gitchoff.

Muny Delivers a Wondrous and Jubilant ‘Meet Me in St. Louis’

Muny Delivers a Wondrous and Jubilant ‘Meet Me in St. Louis’

By Lynn Venhaus

Wow, just wow!

The latest heart-warming production of “Meet Me in St. Louis,” which is self-referential – us sitting in Forest Park watching a musical about the 1904 World’s Fair set in Forest Park, is so remarkable that with the Muny’s utmost care and dedication, all our collective memories came alive.

We felt it, the nearly 8,000 of us gathered on Friday. That connection, that thread linking each one of us, elicited never-ending smiles on a summer night. Just as our ancestors did, we reveled in the Muny magic under the stars

This cherished musical’s ninth time on that renowned stage is thrilling, sentimental and even tear-jerking. After all, it’s unmistakably “right here in St. Louis,” which is a vibrant valentine to the community.

Director Maggie Burrows and her creative team established a homey feel, leaning into the happy golden days of yore.

Beth Leavel (left) and the company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

That sense of wonder, of awe, and a swelling of civic pride came together organically to celebrate our treasured traditions and what makes our region so special through the devoted designers/ technical team. They feel the same way, and it shows.

In fact, the visual storytelling splendors they’ve designed are unprecedented – we’ve never seen these melded in such a spectacular way. Set designer Ann Beyersdorfer’s re-imagining of the Smith’s Victorian home at 5135 Kensington Place is a revolving work of art, a picturesque red-brick exterior and richly period-detailed interior on the Muny’s massive turntable (master technicians, we salute you).

Add the changing seasons – once again, falling snow, like “Frozen” did last year for winter, and the natural beauty of trees framing the stage. The whole feel of the panoramic landscapes of our fair city, 1903-1904, as we keep rolling along on the shores of the Mississippi River.

New York-based Beyersdorfer, a Belleville native who has designed seven sets for the Muny, three for Stages St. Louis (current “Guys and Dolls”), and the upcoming “Little Women” for The Repertory Theatre of St. Louis, has created lasting memories here.

From left: Kyla Stone, Beth Leavel and Katerina McCrimmon in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The scenic design, paired with the ravishing video designs by Greg Emetaz and Kylee Loera, was a next-level display of what the Muny artisans are capable of, and the breathtaking sights prompted the audience to cheer and applaud loudly multiple times. The recreation of vintage lithograph postcards was exquisite.

The stage musical, first commissioned by and for the Muny in 1960, has always offered comforting nostalgia about the simple joys of childhood and affectionate family dynamics.

Let’s face it, the storyline is a deluxe Hallmark movie. Warm and winsome that it is, the Smith family drama occurs when a planned move to New York City throws plans awry, including romance for the two eldest daughters and being here when St. Louis hosts the World’s Fair.

Officially the Louisiana Purchase Exposition, which honored Lewis and Clark’s westward expansion and celebrated technology, culture and industry, the fair took place from April 30 to Dec. 1, 1904, on 1,200 acres in Forest Park.

Stan Brown, Lilah Levinson. Photo by Phillip Hamer

It was the first time the Olympic games were held in the U.S., and introduced such foods as hot dogs, ice cream cones, cotton candy and iced tea. More than 60 countries and 43 states took part, and it attracted 20 million visitors.

Because the show matters so much here, the cast’s bond to the story was strong, honoring it with sincerity and joy. St. Louisan Colin Donnell, a Broadway veteran, is the genial patriarch, Alonzo Smith, who wants the best for his family.

He and his real-life wife, Patti Murin, are captivating anchors, projecting an emotional closeness. She’s appeared at the Muny seven times, last seen as Anna in “Frozen” last summer, and this time as sensible Anna Smith.

Triple-threat dynamo Katerina McCrimmon, fearlessly tackling such iconic roles as Fanny Brice on the national tour of “Funny Girl” in 2023 (brought down the house at the Fox!), and Eva Peron in last summer’s “Evita” here, assuredly slips into Judy Garland’s shoes as strong-willed, kind-hearted Esther Smith.

From left: Joylin Bass, Lilah Levinson and Katerina McCrimmon in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

With her powerhouse vocal range, she balanced belting with vulnerability. She emulated Garland’s rich velvet timbre, combined with her emotional honesty and passionate singing, and they both shared the gift of tender, wistful delivery.

In the eye-popping and jaw-dropping “The Trolley Song,” we followed a moving trolley’s path through turn-of-the-century St. Louis as video projections of neighborhood vistas went by.

Gordon Greenberg’s snappy re-do of the book by Hugh Wheeler, which improved characters, pacing and boosted local references, debuted for the Muny’s 100th anniversary in 2018, and now, just in time for Forest Park’s 150th anniversary, it enveloped us with heart and humor.

Author Sally Benson grew up at that Academy neighborhood address, in the home her father purchased in 1891. Fun fact: her maiden name was Smith and her nickname Tootie. (Spoiler alert: They did move to New York. Sadly, the home was demolished in 1994.)

Patti Murin and Colin Donnell in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

Her fond recollections were published in short story installments, “The Kensington Stories,” in The New Yorker in 1941, and proved so popular, she turned it into a book in 1942, the basis for the beloved MGM film starring Judy Garland and directed by Vincente Minnelli.

The movie was released in 1944 wartime America, resonating about home and togetherness, and included Garland favorites “The Boy Next Door” and the holiday classic “Have Yourself a Merry Little Christmas,” which McCrimmon makes her own. The movie is no. 10 on the American Film Institute’s 100 best movie musicals.

The show’s music and lyrics are by Ralph Blane and Hugh Martin, and additional material by George W. Meyer, Edgar Leslie and E. Ray Goetz, Kerry Mills and Andrew B. Sterling.

This refreshed production, with additional orchestrations by John McDaniel, includes the cut song by Rodgers and Hammerstein “Boys and Girls Like You and Me,” originally intended for the film, and the stage debut of “You and I,” a duet sung by Donnelly and Murin.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

This year, a new number premiered, “That’s Enough of That,” sung by Tony Award winner Beth Leavel. The Muny fan favorite, whose 13 memorable performances include Mama Rose in “Gypsy” (St. Louis Theater Circle Award), Dolly Levi in “Hello, Dolly!” and Aunt Eller in “Oklahoma,” portrays the lovable housekeeper, Katie Connelly. During the song, she dispenses wry, wise advice to the two oldest Smith daughters, Rose and Esther.

The song is written by Mark Sonnenblick, with orchestrations by Greg Anthony Rassen. Sonnenblick is having a banner year, after winning an Oscar, Grammy and Golden Globe for collaborating on the smash hit “Golden” from “K Pop Demon Hunters” (a joyful mental loop).

A musical theater composer and lyricist, he’s written additional lyrics for the musical “The Devil Wears Prada” and the films “Spirited,” “Theater Camp” and “Lyle, Lyle Crocodile.” He also wrote the opening song Pink performed at this year’s Tony Awards.

It’s nice to know that Mike Isaacson, executive producer and artistic director, is open to fresh ideas and making updates to outdated shows.

Katerina McCrimmon (left) and Lilah Levinson in the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The enthusiastic principals demonstrated a tight-knit communal feel, with noteworthy turns by Stan Brown as retired doctor Grandpa Prophater, Kyla Stone as oldest sister Rose, Andrew Poston as boy next door John Truitt, Ilan Eskenazi as brother Lon Smith, Joylin Bass as younger sister Agnes, Gregory Lee Rodriguez as Rose’s beau Warren Sheffield, and Emma Crow as Lon’s sophisticated outsider girlfriend Lucille Ballard.

Spunky Lilah Levinson as mischievous youngest sister Tootie stole all her scenes, comically landing every line.

A spirited ensemble, under the fine music direction of Paul Byssainthe Jr. and choreographer Sarah Meahl, helped the realistic feel — Leah Berry, Chloe Chamberlin, Jason Goldston, Beau Harmon (a funny Pee-wee Drummond!), Ava Noble, Ben Nordstrom, Sandra Valeska Orozco, Jasmine Overbaugh, Ronan Ryan, Gordon Semeatu, Drew Tanabe, Bronwyn Tarboton, Allie Villhard and Justus Wheatley (who is spotlighted singing a popular beer garden song “Under the Anheuser Bush” as the Christmas Ball band singer.

Kailey Bender and Michael Santomassimo are the swings, with Michael associate choreographer and dance captain, too. The Muny Youth Ensemble also took part.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The cast was fabulously costumed by Leon Dobkowski, with gorgeous all-white finery for the fair, elegant jewel-toned gowns for the Christmas ball and everyday vintage apparel, with Kelley Jordan’s natural-looking wig designs of cascading curls and braids.

The razzle-dazzle in a grand finale seemed to have multiple moving parts that will be talked about for years, starting with a magnificent reveal of lighting designer Paige Seber’s festive World’s Fair, followed by fireworks. Kudos to Director of Production Tracy Utzmyers and Technical Director Theo Prifti, and their teams.

During a lively curtain call, we joined the cast singing the title song, but the production people weren’t done yet with the wow factor. It’s as if they pushed farther to see what new heights they could achieve to celebrate our twin crown jewels, the Muny and Forest Park.

Putting a cherry on top, we watched our St. Louis skyline/history unfold, including the Arch being built and other nods to our heritage. This happy ending on an extraordinary night was akin to everyone wearing their hearts on their sleeves, feeling the ties that bind us, and roars and repeated ovations erupted.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

The Muny presents “Meet Me in St. Louis” Aug. 6 – 13 at 8:15 p.m. Performances take place on the Muny’s outdoor stage in Forest Park. For more information, visit muny.org.

The company of the 2026 Muny production of “Meet Me In St. Louis.” Photo by Phillip Hamer

St. Louis Shakespeare Festival’s ‘The Two Gentlemen of Verona’ Charms With Six Spunky, Spry Players

St. Louis Shakespeare Festival’s ‘The Two Gentlemen of Verona’ Charms With Six Spunky, Spry Players

By Lynn Venhaus

With boundless enthusiasm, a six-person ensemble enlivens “The Two Gentlemen of Verona,” an early Shakespeare comedy about boundaries in friendship and romance that remains a timeless cautionary coming-of-age story.

The intent is light-hearted, the folly of best buds falling in love with the same woman, and the betrayal and forgiveness that ensues. And saucy minions, too. (Google it).

If we’re outdoors, it must mean it’s a lovely summer evening courtesy of St. Louis Shakespeare Festival’s annual TourCo, where they travel across the bi-state area to bring live theater to local parks and plazas, this year 33 locations in all.

Six years’ strong, this far-reaching accessible and free initiative has evolved into a must-see experience. It is both the longest running play in St. Louis every season and the second largest Shakespeare tour in the country.

Sarah wilkinson and Tristan Wallach as young lovers Julia and Proteus. Photo by Phillip Hamer.

The picturesque open-air Cohen amphitheatre setting at the Missouri Botanical Garden was the stage Wednesday night, and it showcased all the key aspects of Shakespeare in the park that entertain: appealing performers, musicality and surprises – this time, a scene-stealing dog in the cast.

Director Rebekah Scallet, a Shakespeare veteran, has brought out the universality of the story, generally regarded less than other works, but she points out that it is a precursor to other themes and situations he explores in later plays. Capricious young men! As is typical in early Shakespeare comedies, there’s misunderstanding, disguises, and growing up to do.

What separates this version is its zip. The cast delivers a zesty introduction to set the stage for the 90-minute show in their Living Study Guide, which is a summary explaining characters and their motivations at the beginning. Because it’s a compact and concise adaptation, where the actors play multiple roles, they let us know who’s who and what’s what.

The energetic performers dash around, frequently changing an outfit or grabbing a musical instrument. All but one are making their Shakespeare debut. Newcomer Tristan Wallach is Proteus, who shifts from lovesick romantic into a traitor who betrays both his girlfriend Julia (Sarah Wilkinson) and best friend Valentine (Otto Klemp, who was in “The Tempest” earlier this summer).

Bryce Miller, Tristan Wallach and Jayson Heil. Photo by Phillip Hamer.

In Milan, to broaden his horizons, Valentine falls in love with the strong-willed Silvia (Jade Simone Francis), daughter of the Duke (Jayson Heil). Proteus, who stayed home, fell in love with Julia. However, Proteus’ father Antonio has sent him to Milan, where he falls in love with Valentine’s girlfriend. Rut-ro. But Silvia rejects him, repeatedly (cue women in audience applauding).

But things get messy as loyalty and good judgment go out the window, and we travel between court to forest (sound familiar?). Say what you will, but in those Renaissance times, they valued the bonds of male friendship over romantic love. Hmmm…That was around 1590, and times have changed.

Charmer Bryce Miller adds oomph to his role of Speed, the quick-witted servant of Valentine. He often comments on the two besties’ foolish antics and works hard to make sure the ‘older language’ sounds fresh. He also portrays goofy Thurio, a wealthy suitor pursuing Silvia, who is favored by the Duke.

As the smart but impulsive Julia, graceful and winsome Sarah Wilkinson disguises herself as a page boy, ‘Sebastian,’ to spy on Proteus, the first evidence of Shakespeare’s cross-dressing heroines. She is assisted by her sassy waiting-woman, Lucetta, played vibrantly by Francis. She has a more practical attitude about courtships than the fickle youths do, especially her faithful boss.

Otto Klemp and Jade Simone Francis. Photo by Phillip Hamer.

Adding even more charm is the seventh cast member, Crab, the ill-behaved pet of clownish Launce (Jayson Heil), Proteus’ servant. Five dogs are being rotated to play this scene-stealing role.

Many times, in Shakespeare comedies, the supporting characters are more interesting than the male leads, and that holds true here. Wallach and Klemp are fine in lead roles, but where they shine is in their acoustic musical accompaniment. They are both accomplished musicians.

Another distinguishing factor is original music, under the superb direction of Larry D. Pry, whose arrangements of melodic tunes fitting the period and setting stand out. The original music was written by Jordan Coughtry, who worked with Scallet when she was artistic director at the Arkansas Shakespeare Theatre.

It’s not all that unusual that “The Two Gentlemen of Verona” features music, for a groundbreaking rock musical adaptation at Joseph Papp’s NYC Shakespeare in Central Park in 1971 went on to Broadway and won the 1972 Tony Award for Best Musical (and best book), featuring Clifton Davis and Raul Julia as the leads.

Pre-pandemic, St. Louis Shakespeare Festival presented a 1980s hip-hop high school musical version of it, “Dress the Part,” in February 2020 from The Q Brothers, who played football players among over 20 parts, which won an ensemble award from the St. Louis Theater Circle in 2022.

Jayson Heil with Rocky, a Golden Retriever, as Crab. Photo by Phillip Hamer.

This company features a similar fast-paced, playful spirit that Scallet strived for, imbuing a fresh attitude.

The touring company requires a portable set, and scenic designer Katherine Stepanek shows her keen eye for setting a stage to be practical and attractive, with floral-festooned arch-shaped trellises draped with a vivid red material. These move easily to suit the locales. Like she always does, costume designer Michele Friedman Siler fits the occasion with perfectly suited outfits – and ones adaptable for St. Louis summers and quick changes.

The talented technical team also includes John Wilson as both the fight and intimacy coordinator, and Colin O’Brien as the expert production manager, with Britteny Henry doing her customary efficient job as stage manager, ensuring fluid entrances and exits.

Shakespeare may have been taught in your English class, but the best way to appreciate the bard is to see his plays performed, not read. And with the touring company coming to communities and neighborhoods, the time is perfect to bring a blanket or lawn chairs, pack a picnic, and see a family-friendly 90-minute Shakespeare show. Check social media for weather updates.

Simone, Klemp and Wilkinson. Photo by Phillip Hamer.

St. Louis Shakespeare Festival’s TourCo is presenting “The Two Gentlemen of Verona” free and open to all, no tickets required, to more than 30 parks and plazas in Missouri and Illinois from Aug. 4 to Sept. 6. Performances start at 6:30 p.m. and are 90 minutes in length. Visit https://stlshakes.org/tourco/ for a complete schedule.

The cast of “The Two Gentlemen of Verona” – Sarah Wilkinson, Tristan Wallach, Bryce Miller, Otto Klemp, Jade Simone Francis and Jayson Heil. Photo by Phillip Hamer.

First Run Theatre’s ‘Tenn’ Spotlights Playwright’s Backstage Drama

First Run Theatre’s ‘Tenn’ Spotlights Playwright’s Backstage Drama

By Lynn Venhaus

The rich legacy of Tennessee Williams has become a major point of pride in St. Louis, where he spent his formative years. For 10 years, we’ve embraced the Tennessee Williams Festival St. Louis, and rediscovered a new appreciation for the great American playwright.

Therefore, an original work about the dramatic and sometimes humorous events leading up to the Broadway premiere of his autobiographical “The Glass Menagerie,” a game changer in many ways, is worth diving back into the Williams lore.

An earnest “Tenn” by Aaron Scully takes us back to the ‘before’ – nervous investors, stressed-out playwright, unreliable leading lady, and major jitters by others involved.

But all those can and will be overcome, and who really matters are two people who fiercely believed in the play and playwright – namely talent agent Audrey Wood and director/producer Eddie Dowling.

They were life-changing contacts for Williams, and as played by Kelli Rao and Kevin Bailey, convey the necessary passion and support he needed to succeed. Without them, he would never have catapulted from obscurity to fame.

Dorothy LaBounty, Kevin Bailey and Kellie Rao. Photo by Brad Slavik.

In addition, Dowling steps onto the stage as dreamer Tom Wingfield, the character based on the author himself. Tom yearns for a different life, writing for a living and away from his family and mundane job in a shoe warehouse.

The events, presented as vignettes, start in 1939 and lead up to opening night on Dec. 26, 1944, in Chicago, then on Broadway on March 31, 1945. Scully frames it as Tennessee’s memories about his memory play, a clever premise. For his take, he has pared it down to a six-person ensemble.

After an earlier staged reading, First Run Theatre has produced this full-length play, meticulously mounted in the Kranzberg Arts Center, with cozy and concise period details in costumes, set, mannerisms and props (the vintage typewriter is a beat-up beaut). Granted, the production is low budget, but that also gives it an intimate feel.

Matt Newlin anchors the backstage drama as Tennessee, fiercely protective of his work, but fretful that the play based on his life would have the same fate as his earlier flop, “Battle of Angels.”

His Tenn is a genteel Southern gentleman, soaking up experiences and commenting on what’s happening, showcasing the playwright’s trademark wit and insecurities. Scully captures those aspects of the character well, and Newlin depicts him as a sympathetic creative that you root for to succeed.

Bailey, Newlin and Charles Huevelman. Photo by Brad Slavik.

Dorothy LaBounty deftly portrays the alcoholic actress Laurette Taylor, who drew rave reviews immortalizing Williams’ histrionic mother Edwina as the character Amanda Wingfield, a faded Southern belle who is ill-equipped to deal with harsh financial conditions in a small St. Louis apartment in the late 1930s.

Giving this story a sense of gravitas are Kyle Reeves as Donald Windham, Williams’ partner, and Charles Huevelman as the financier Louis Singer, who balks at putting more funds into the show.

A notable absence is an actress playing Laura, who is modeled after Tenn’s fragile sister Rose. In the opening, Newlin explains that there are 12 scenes, not in chronological order, and not everyone that was involved is part of the process.

For a modest production, set designs are an essential part of this storytelling, and set designer Brad Slavik, the producer and board president, has crafted an ambitious scenic tableau, with a fire escape, restaurant, hotel room, stage and other settings.

Three hard-working stagehands Mike True, Phoebe Carlson and Lilly Holland are busy changing settings, which can be cumbersome to the play’s flow.

‘Tenn’ at First Run Theatre. Photo by Brad Slavik.

With costume designer Lauren Smith Beardon’s retro outfits, lighting designer Mike Gasparich’s illumination, and props manager A. Merkt adding old-timey lamps, they set the scenes well. Rachel St. Pierre was a scenic painter and Jenn Ciavarella the technical director, with Addie McGrath and Lilly Holland sound designers.

Before the Tony Awards were created in 1947, the New York Drama Critics’ Circle awarded “The Glass Menagerie” the Best American Play in 1945. For Tenn, the rest, as they say, is history. He went on to win two Pulitzer Prizes for Drama with “A Streetcar Named Desire” 1948 and “Cat on a Hot Tin Roof” in 1955.

Inspired by the world around him, Tenn made his mark with his poetic realism. His understanding of the human condition, his ability to highlight outsiders, misfits and eccentrics, and his focus about love, understanding, compassion and kindness, made him singular.

All his works are about loss – the summer, beauty, youth, love – and yes, glass animals. None of these things last very long.

Born Thomas Lanier Williams III in 1911 in Mississippi, he moved to St. Louis when he was 8 because his father, a traveling shoe salesman, was promoted at the International Shoe Company. St. Louis was a very polluted bustling industrial town in the 1920s and 1930s.

He was the second of three children born to a hot-tempered, hard-drinking Cornelius Coffin Williams and his neurotic wife, Edwina Dakin, who was frustrated in a bad marriage.

His sister Rose (1909-1996) was schizophrenic and institutionalized for the remainder of her life after a botched lobotomy in 1943. His brother Dakin (1919-2008) was an attorney who lived in Collinsville for years.

His family life was miserable, but he was ambitious and yearned for adventure. His restlessness took him away, but his roots here are significant. The family moved several times, and Williams attended both Soldan and University City high schools.

College included stints at University of Missouri-Columbia from 1929 to 1931 and Washington University in 1936, before earning a degree at the University of Iowa, then heading to New York City.

He also lived in Provincetown, Mass.; New Orleans; and Key West, Fla. Williams died Feb 25, 1983, in New York City, at age 71, and is buried in a family plot in Calvary Cemetery in St. Louis.

LaBounty, Rao, Bailey, Newlin and Huevelman. Photo by Brad Slavik

Scully is stingy with historical details, relying on the audience to know about the play and Williams’ backstory. Sure, the play is classic and iconic, but what about those unfamiliar?

What is missing here is the ‘how’ and ‘why’ the play was heralded. Perhaps characters rehearsing some of the scenes, to demonstrate Williams’ verbal dexterity, his emotional honesty, and his psychological profiles? Audiences connected to his memorable characters, and we should get a sense of that.

(I’ve since learned, after a Q&A with the author, that he originally wanted to use lines from “The Glass Menagerie,” but because of copyright issues, could not.)

From Newlin, we do get a sense of his idealistic passion, and Bailey’s fervent portrayal of Dowling as the guiding light, is a standout. Director Julie George-Carlson has thoughtfully staged this glimpse into the past.

Elia Kazan, who directed several of Williams’ iconic stage and film productions, described him as thus: “Everything in his life is in his plays, and everything in his plays is in his life.”

The story here feels incomplete, and I left wanting more, for Williams is as fascinating of a character as the fictional ones he created. “Tenn” focuses solely on the backstage drama that results in a triumphant theatrical achievement.

As a work in progress, “Tenn” illuminates a key aspect of Williams’ luster.

“Make voyages. Attempt them. There is nothing else,” Williams wrote in his 1953 play “Camino Real.”

First Run Theatre is presenting “Tenn” from July 31 through Aug. 9, Friday and Saturday at 8 p.m., and Sunday at 2 p.m., at the Kranzberg Arts Center, 501 N. Grand, St. Louis MO. The two-act play has one 15-minute intermission. For tickets and information, please visit www.firstruntheatre.org.

Animated High Rollers and Holy Rollers Enliven Stages St. Louis’ Jaunty ‘Guys and Dolls’

Animated High Rollers and Holy Rollers Enliven Stages St. Louis’ Jaunty ‘Guys and Dolls’

By Lynn Venhaus

With extra oomph in every song and dance number, Stages St. Louis delivers a festive confection in “Guys and Dolls.”

The snazzily attired ensemble looks like they’ve walked out of an idyllic vintage postcard of 1950s Times Square, bringing to life the exciting rhythms and zip of New York City. The colorful characters move in synchronized fashion, striking poses as this mix of pickpockets, cops, tourists, card sharks, and evangelists breeze by.

The look of “Runyonland” transports us to the bustling energy of midtown Manhattan and signals that we’re in store for one of the best musicals from the golden age. Ann Beyersdorfer’s resplendent scenic design, in tandem with lighting designer Sean Savoie’s bright neon lights, makes the skyline glow.

Costume designer Tim Kent’s stunning work is an integral element of this show, with outfits that dazzle in the Hot Box numbers – eye-popping elegance in “Take Back Your Mink” and glitzy in the fizzy “A Bushel and a Peck,” and boost the wise-guys pizzazz. Even every accessory, including outstanding hats and pocketbooks, are a marvel to see. Kent, a former designer of over 40 musicals at Stages from 1990-1997, has returned with an unmistakable flair.

Adelaide and the showgirls in “Take Back Your Mink.” Photo by Phillip Hamer.

Once we hear that unforgettable score, with muscular music and lyrics by Frank Loesser, we’re off to the races with the overlapping witty banter of “Fugue for Tinhorns,” and the robust ensemble piece “The Oldest Established” soon follows.

The entertaining book by Jo Swerling and Abe Burrows, based on journalist Damon Runyon’s short stories, features these gamblers, hustlers and gangsters in their Prohibition era habitat. This romanticized ‘underworld’ is taken from Runyon’s “The Idyll of Miss Sarah Brown,” “Blood Pressure,” and “Pick the Winner.”

They have names like Nathan Detroit (Matthew Schatz), Benny Southstreet (a sensational Wesley J. Barnes), Big Jule (Zoe Vonder Haar), Rusty Charlie (Reagan Pender), Harry the Horse (Aaron Fried) and Angie the Ox (Patrick Blindauer). The performers have mastered the distinctive slang called Runyonese, and director James Monroe Iglehart has defined this theatrical and funny production with an exaggerated chaotic kinetic energy.

Iglehart’s brisk guidance, and the collaborations to evoke this bygone era’s sentimental atmosphere, are key to this show’s appeal. Through a superb fusion of modern dance, jazz and ballet, choreographer Lindsay Joy Lancaster has created a style that gives this “Guys and Dolls” revival its signature. Pulsing with musicality, Lancaster’s dance moves in ‘Havana” and “Crapshooters Ballet” are the show’s MVP.

“Luck Be a Lady.’ Photo by Phillip Hamer.

The storytelling remains sweet and funny, especially the long-engaged dancer Miss Adelaide (Katerina Papacostas), who is tired of fiancé Nathan’s stalling, and yearns for a stable life. Papacostas is a rare find and steals the show with her feisty take on the iconic role. She takes charge in “Adelaide’s Lament” and comically bickers with her betrothed in “Sue Me.”

With those pre-feminism roles of the ‘50s, the female leads of that era have been mainly “need a man to take care of me” but Adelaide is no pushover, and it’s refreshing. Neither she nor Sarah are passive this time around. We’re just going to ignore the sexist tropes of that day here (you know, dolls and dames).

As Nathan, Schatz affably embodies the fast-talking, good-natured con man, and he and Papacostas, despite his commitment phobia, have a winning chemistry. He just values his illegal dice game more.

Unfortunately, the other principal pair, Sky Masterson (Sam Harvey) and Sarah Brown (Lindsay Roberts Greene), do not have any spark with their forced connection. High-roller Sky tries to woo the uptight, idealistic sergeant at the Save-a-Soul Mission because of a bet, but then they wind up falling for each other. That aspect proves that cool cat Sky can’t control love, and neither can Sarah.

Sam Harvey and Lindsay Roberts Greene in “If I Were a Bell.” Photo by Phillip Hamer.

Seen at Stages as the slick Danny Zuko in “Grease” in 2019, Harvey delivers smooth vocals as the suave Masterson, especially city love letter “My Time of Day” and the swinging splashy “Luck Be a Lady” in the high-stakes crap game that takes place in the city’s sewer.

Greene has a beautiful voice and sings her solos “I’ll Know” and “If I Were a Bell” with aplomb. But she and Harvey are mismatched in “I’ve Never Been in Love Before,” and do not click vocally.

The cast’s harmony comes together in the showstopping “Sit Down, You’re Rockin’ the Boat,” one of the all-time great ensemble pieces, and this high-spirited cast raises the roof. It’s Tamar Green’s time to shine as the cheerful Nicely-Nicely Johnson, Nathan’s loyal sidekick.

A welcome presence, Greene is a natural force whose expressive, rich tenor has made him a standout as George Washington in “Hamilton” on Broadway, and a tower of strength as Coalhouse Walker in Stages St. Louis’ “Ragtime,” for which he won the St. Louis Theater Circle Award in 2025.

“Sit Down You’re Rocking the Boat.” Photo by Phillip Hamer.

The ‘Sit Down’ foot-stomping, hand-clapping revival-style number always brings down the house so that “Marry the Man” duet between Sarah and Adelaide that follows always feels like an after-thought, but it leads to the inevitable happy ending.

Supporting characters of note include St. Louisan John Flack, an ideal fit as Arvide Abernathy, the kindly loving grandfather of Sarah Brown, and the bass drum player in the mission band. His warm, heart-tugging ballad “More I Cannot Wish You” is one of the show’s highlights.

Another high point is local treasure Zoe Vonder Haar as Chicago high roller Big Jule – what fun! Other veteran local performers who grace the stage include Steve Isom as gruff Lt. Brannigan, Pam Reckamp as no-nonsense General Cartwright, and Blindauer as a comical Angie the Ox.

The swaggering guys (previously not mentioned) include Paul Giarratano, Josiah Gundersen, Philly Kang, Connor Kelly-Wright, and Jack David Mullen, while the sprightly dolls were Teah Juliette Bell, Anna Chin, Marjorie Failoni, Cara Palombo and Maya Santiago. Swings include Aubrey Aldag, James Caposito and Mason Hensley. They find the sweet spot, not too seedy or campy, as the saints and sinners.

Katerina Papacostas and Matthew Schatz as Miss Adelaide and Nathan. Photo by Phillip Hamer.

Musical director Dolores Duran-Cefalu buoyantly leads an orchestra that includes Jonathan M. Taylor on drums and percussion, Adam Anello on bass, George Manning on trombone, Chris Miller and Dan Smith on trumpets, Lea Gerdes, Joseph Hendricks and JD Tolman on reeds, Fiona Brickey on violin, and Mark Maher and Duran-Cefalu on keyboards.

Other contributions include terrific wig and hair design by Paige Stewart, clear sound design by Breanna Fais, and sharp stage managing by E. Sara Barnes.

Let’s face it, this musical comedy fable is such a staple in school and community theater that you’d be hard-pressed to find someone who hasn’t seen it, been on a crew or acted in it. Nearly everyone who has a connection to the play looks back on it fondly, as you just can’t find fault with those peppy numbers, no matter how times have changed.

“Guys and Dolls.” Photo by Phillip Hamer.

The Tony-winning musical premiered on Broadway on Nov. 24, 1950, and ran for 1,200 performances. It has been revived numerous times – 1955, 1965, 1976, 2009, and most notably, the 1992 revival that won four Tony Awards and ran for 1,143 performances. And there was that 1955 movie starring Marlon Brando and Frank Sinatra.

Laced with nostalgia, Iglehart’s delightfully crisp and snappy production comes alive with intention and demonstrates why this quintessentially American musical has staying power and a devoted audience.

Stages St. Louis presents “Guys and Dolls” July 24 through Aug. 23, with performances daily except for Mondays, at the Kirkwood Performing Arts Center, 210 E. Monroe Ave. For more information: stagesstlouis.org

“The Oldest Established.” Photo by Phillip Hamer.

Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

Muny’s Soulful ‘Ain’t Too Proud’ Soars in Motown Song and Storytelling

By Lynn Venhaus

Get ready to groove! A harmonious blend of electrifying sound, smooth moves and soulful expression, “Ain’t Too Proud: The Life and Times of the Temptations” deftly delivered passionate personal portraits in The Muny’s premiere production.

The iconic songs that made this rhythm and blues group the most successful ever sound pure and powerful as the soaring falsettos, high tenor leads and deep bass notes recall a timeless soundtrack to the ‘60s and ‘70s    – and freshly highlight their extraordinary career for those not as familiar.

This is an endearing classic jukebox musical with dramatic storytelling about perseverance, ambition, collaboration and resilience — how these five Detroit guys rose from humble beginnings to international stardom.

The show opened on Broadway Feb. 28, 2019, stopped for the pandemic shutdown on March 12, 2020, then resumed Oct. 16, 2021, and closed Jan. 16, 2022. It was nominated for 12 Tony Awards and won for choreography. National tours have stopped at the Fox Theatre in St. Louis twice, first in 2022, and then for a weekend in 2025.

From left: Jawan M. Jackson, James T. Lane, Nick Rashad Burroughs, Elijah Ahmad Lewis and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The Temptations were the first Motown group to win a Grammy (“Cloud Nine” in 1969), had 53 hits in the Billboard Top 100, were inducted into the Rock and Roll Hall of Fame in 1989, and Billboard named them the #1 Greatest R&B/Hip-Hop Artist of All-Time in 2017.

Formed as The Elgins in 1961, founder Otis Williams (James T. Lane) assembled the first quintet to include tenor Elbridge “Al” Bryant (Robert Crenshaw), bass Melvin Franklin (Jawan M. Jackson), tenor Eddie Kendricks (Elijah Ahmad Lewis) and baritone Paul Williams (Daniel Yearwood).

Under Berry Gordy’s (Galen J. Williams) tutelage, they ascended the charts as The Temptations, with Smokey Robinson (Tyler Hardwick) first writing their hits. Bryant left in 1964 and was replaced by David Ruffin (Nick Rashad Burroughs), who sang lead on “My Girl,” “Ain’t Too Proud to Beg” and “I Wish It Would Rain.”

As they go through decades of fame, personal loss, and historical change, Norman Whitfield (Robert Crenshaw) took over as composer, writing bold songs about real-world issues, affected by the civil rights movement, Dr. Martin Luther King’s death in 1968, and subsequent Detroit riots.

James T. Lane and Nasia Thomas in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The second member shift was when Dennis Edwards (Joseph Anthony Byrd) replaced Ruffin in 1968, then Kendricks and Paul Williams both left the group in 1971. Later members included Richard Street (Aramie Payton), Damon Harris (Tyler Hardwick), Glenn Leonard, Ron Tyson, and Ali-Ollie Woodson. By Williams’ account, there are 27 men who have been officially part of The Temptations, and today, there is an evolving roster.

This recognizable music instantly made a connection with the audience, and a comfortable rapport was established. A high-energy ensemble performed 31 Motown hits with synchronized, athletic dance steps.

Paul Williams, widely considered the group’s best dancer, helped develop those slick moves in the early days, including “The Temptation Walk,” which were recreated by Tony winner Sergio Trujillo, and then stylized by choreographer Rickey Tripp, making his dazzling Muny debut, aided by associate choreographer Nasha Harris Santiago

Also here for the first time, Music Director Darryl G. Ivey buoyantly conducted 23 top-tier musicians to masterfully blend those global smash hits. Under Marcia Milgrom Dodge’s fast-paced direction, pizzazzy sequences were enlivened by scenic designer Edward E. Haynes Jr.’s towering Ambassador Bridge set piece and Kevan Loney’s imersive video designs incorporating concert and television appearances. Rob Denton’s lighting design and Joshua Hummel’s sound design complimented the showbizzy atmosphere.

From left: E.J. Hamilton, Candice Marie Woods and NaTonia Monet in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Costume designer Gail Baldoni based impeccable retro garments on the original designs by Paul Tazewell and included those stylish matching suits the guys were known for and sparkly gowns for The Supremes. Kelley Jordan fashioned the wigs, and the hairstyles grow in size as the 1960s progress..

Behind the flash, the actors conveyed a band of brothers – in the emotional highs and lows, and in the personal, professional and political struggles of their time. Dominique Morisseau’s book, while gritty, follows a conventional formula – but does not gloss over painful occurrences. The darker side includes alcoholism, drug addiction, domestic violence and suicide.

Morisseau adapted founder Otis Williams’ autobiography, written with Patricia Romanowski, for the basis of the musical, and he not only attended Monday’s performance, but spoke to the crowd after the curtain call. Williams, 84, still tours with the group.

From left: NaTonia Monet, Galen Williams and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

As the sturdy narrator Williams, engaging James T. Lane broke the fourth wall. He also framed the heavy emotional cost of success, outliving his friends, and focused on keeping the band together. As the moral anchor, Williams dealt with the big egos and arguments, and is the last surviving member, so the story is his to tell.

Dynamic Nick Rashad Burroughs, such a live wire as James “Thunder” Early in 2024’s “Dreamgirls,” embodied the tempestuous and talented frontman Ruffin, who couldn’t overcome his demons.

From left: Steve Rosen, Nick Rashad Burroughs, Elijah Ahmad Lewis, James T. Lane, Jawan M. Jackson and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

A real aural delight is Jawan M. Jackson as the distinctive bass Franklin, nicknamed “Blue.” His “Papa Was a Rolling Stone” is unforgettable. No wonder that he originated the role on Broadway and is now part of The Temptations, for his rich, mature tone resonates so perfectly.

Elijah Ahmad Lewis, who was a principal standby on Broadway, plays the cool cat Eddie “Corn” Kendricks with verve, displaying the signature falsetto on “Just My Imagination,” “Get Ready” and “The Way You Do the Things You Do.”

Daniel Yearwood is a heart-tugging Paul Williams, providing warm, sincere vocals like “For Once in My Life,” and then emotionally going through a sad trajectory.

The polished and professional female squad played several notable roles, with Candice Marie Woods as a stunning Diana Ross, E.J. Hamilton as Mary Wilson and NaTonia Monét as Florence Ballard, all shimmering as The Supremes, with Monet also Tammi Terrell, and Nasia Thomas as Otis’ wife Josephine.

From left: Elijah Ahmad Lewis, Jawan M. Jackson, James T. Lane, Robert Crenshaw, Daniel Yearwood and the company of the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Noteworthy in support are Robert Crenshaw as Al Bryant and Norman Whitfield, two roles he played on the national tour and TJ Staten Jr. as Otis’ grown son Lamont. While his role as manager Shelly Berger isn’t as flamboyant as Uncle Fester, Cogsworth and Igor in previous Muny productions, it’s nice to see Steve Rosen return – and his curtain call schtick is very funny.

Besides the aforementioned, the hard-working ensemble included Joshua Keith, Essence Anisa Tyler, Riley Adams, AJ Bentley, Laila Fantroy, Kameron Henry, Myles Lacey, Kayla Montgomery and Landon Page.

We brought our fond memories to the Muny, and Dodge supplied the upbeat concert vibe to make it a lively and entertaining evening. She made the past feel very present.

A Detroit native, she played Motown 45s in her basement like my sister Julie and I did in our youth. So, of course we were seat dancing! And up on our feet for the curtain call. This is Dodge’s 11th musical at the Muny, and one that was deeply personal to her, which she conveyed to all of us there Tuesday night.

From left: Nick Rashad Burroughs, Jawan M. Jackson, Elijah Ahmad Lewis, James T. Lane and Daniel Yearwood in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

The music of The Temptations lives on forever, and the Muny audiences won’t soon forget the fun party atmosphere nor the quintet’s heartfelt journey.

The Muny presents “Ain’t Too Proud: The Life and Times of The Temptations” from July 27 to Aug. 2 on the outdoor stage in Forest Park nightly at 8:15 p.m. and is presented by Moneta. The runtime is 2 hours, 30 minutes with 15-minute intermission included.

From left: Daniel Yearwood, Elijah Ahmad Lewis, Nick Rashad Burroughs, Joseph Byrd, Jawan M. Jackson and James T. Lane in the 2026 Muny production of “Ain’t Too Proud: The Life and Times of The Temptations.” Photo by Phillip Hamer

Midnight Company’s ‘Wakey Wakey’ Celebrates Life’s Joy and Wonder

Midnight Company’s ‘Wakey Wakey’ Celebrates Life’s Joy and Wonder

By Lynn Venhaus

“Is it now? I thought I had more time.”

A guy, clad in pajama pants and sitting in a wheelchair, utters those words. That’s the start of “Wakey Wakey,” a clever, insightful rumination on the humanity that connects us all.

Written by American playwright Will Eno, this thoughtful 2017 dramatic comedy is the latest uncommon offering from The Midnight Company and is a St. Louis premiere. In the title role of Guy is the company’s founder and artistic director, Joe Hanrahan. He’s charming, disarming and funny as an everyman facing mortality.

Eno’s rhythms ideally fit Hanrahan because it’s like everyday conversation in a natural stand-up routine way. He has performed Eno’s plays “Thom Pain (based on nothing)” twice (a finalist for the 2005 Pulitzer Prize), and “Title and Deed” before, so he is familiar with the anxious musings and reflections about the cosmic wonders that intrigue us every time we look up at the sky.

Eno’s written seven plays and known for a quirky writing style – fragmented dialogue and philosophical commentary. As Guy, Hanrahan, looking rumpled with disheveled hair, has come to terms with his final days. He speaks to the audience directly, reading from index cards like he’s addressing the local chamber of commerce.

He starts pondering life, grief and survival, then takes sharp turns into precise off-beat subjects. Hanrahan, with self-deprecating wit, is in a jolly mood sharing space with the audience.

He has slides to show, too. And he’s trying to figure out the remote control for the ‘clicks.’ His befuddlement struck a chord with the audience. It may feel random, but it has a point – and the more esoteric, the more it seemed to connect.

The audio, impeccably designed by director Ellie Schwetye, features snippets of songs and sound bites to fit the visual elements. The projection design is by the skilled Zac Grimm, who won the first-ever St. Louis Theater Circle Award for visual effects design in 2025, for Liz Lewy’s remarkable “Longing.”

At times, “Wakey Wakey” might feel like you’re back in a dorm room, talking about life, existential philosophies and aging. What do we think is worth celebrating and worth treasuring, and will we feel that way when we’re older?

Laced with laughs, the audience gets a kick out of Hanrahan engaging with them, breaking the fourth wall. Guy looks like he’s surrounded by boxes, living in a place that’s not his home, but is his final address. Written material indicates it is a hospice situation.

We all know that no one gets out alive, right, so instead of it being sad — Eno enlivens the conversation. Joe’s not alone, either. Rachel Hanks arrives midway through the one-act, as Lisa, saying she is to check on him. She’s a grounded presence, always.

The creative team ensured this was not just a simple ‘monologue,’ but rather a theatrical endeavor that said something, meant something, and we felt connected, starting with Schwetye’s crisp direction. This is her 11th collaboration with Hanrahan, and they’ve united on memorable productions, including “Tinseltown,” which won the St. Louis Theater Circle Award for Best New Play. Lighting designer Tony Anselmo superbly enhanced the visual aspect.

The key takeaway – which gets patrons talking – is that we don’t value the small things in life until, perhaps, it’s too late. So, celebrate them all: moments of laughter, wonder, joy and each other. The set-up at the Chapel lent itself to the cozy atmosphere, which felt very communal.

When Joe delivered the line: “We need to get better at saying hello,” that spoke to me. But there are many things that spoke to the ‘right here, right now’ of living in 2026.

The Midnight Company presents “Wakey Wakey” from July 16 to Aug. 1 without intermission at The Chapel, Performances are at 7:30 p.m. Thursday through Saturday and at 2 p.m. Sunday. For more information, visit www.midnightcompany.com