The Black Rep’s Riveting Wilson ‘King Hedley II’ Packs a Powerful Punch

The Black Rep’s Riveting Wilson ‘King Hedley II’ Packs a Powerful Punch

By Lynn Venhaus

Sins of the past collide with a volatile present in the intense gut-punch that is August Wilson’s “King Hedley II,” part of his American Century Cycle now in return rotation at The Black Rep.

One of the foremost interpreters of Wilson’s work, director Ron Himes superbly creates a powder keg of family secrets, desires for fresh starts, and hopes punctured by despair.

Shaping vivid portrayals, an outstanding ensemble conveys an abundance of passion in a heartbreaking and tragic tale.

The ninth of Wilson’s 10 plays set in the 20th Century, “King Hedley II,” written in 1999, takes place in Reagan’s America 1985, when class struggles were escalating.

This was a fraught time for black men and women trapped by circumstances – few opportunities and an alarming rise in gun violence, teen pregnancies and unemployment. Wilson hammers all those points home in poetic dialogue that spills out in blistering, breathtaking monologues that offer perspective.

Ka’ramuu Kush, J. Samuel Davis and Geovonday Jones. Photo by Keshon Campbell.

Himes understands the rhythms of these individual characters so that their story arcs are distinctive – and the six intertwining connections are convincing. It is masterful, moving work from Ka’ramuu Kush as rage-filled King and Alex Jay as his conflicted wife Tonya, local legends Denise Thimes as matriarch Ruby and J. Samuel Davis as ramblin’, gamblin’ Elmore, with strong support from A.C. Smith as evangelical neighbor Stool Pigeon and Geovonday Jones as King’s pal Mister.

With daily indignities chipping away at his self-respect, King is attempting to overcome a world of hurt to rebuild his life. He just spent seven years in prison for killing a man who disfigured his face. Now, he wants to provide for his family as he hustles stolen refrigerators and dreams of opening a video store with his best friend Mister.

Trouble seems to lurk everywhere, to pull him back, and his life could blow up at any moment because of all these small fires and volatile situations fanning the flames.

Such is the action in a backyard of Pittsburgh’s Hill District, fertile ground for Wilson’s dark, complex story about the widening gulf between the haves and have-nots. Some of the characters we met in his “Seven Guitars” reappear a generation later.

Alex Jay as Tonya. Photo by Keshon Campbell.

“Seven Guitars,” presented in 1995, confronted obstacles faced by a blues musician, Floyd “Schoolboy” Barton, who lived in a boarding house in 1948.  In that one, Ruby, visiting from Alabama, is pregnant with the son she names King Hedley II. Hedley is a prominent character, although the father’s paternity is not explained. Stool Pigeon appears as musician Canewell, one of Floyd’s best buds who is now collecting newspapers and trying to maintain historical records in “King Hedley II.” His friend, Red Carter, is Mister’s father.

Wilson’s 10 plays, each exploring the African American experience by decade over the course of 100 years, have been performed by the Black Rep before. During this second go-round for the anthology, I have seen them all since “The Piano Lesson” in 2013, with “Jitney” in 2022 and “Two Trains Running” in 2020 earning outstanding production awards from the St. Louis Theater Circle.

Next season, they will complete this recent cycle with “Radio Golf,” which takes place in the 1990s and was Wilson’s final work, presented in 2005.

All powerful in their own ways, these finely acted and impeccably produced shows illuminate black heritage and specific challenges.

Denise Thimes and J. Samuel Davis. Photo by Keshon Campbell.

This production’s gritty look immerses us into the neighboring row houses’ struggles through scenic designer Timothy Jones’s shabby stoop of Stool Pigeon’s and the grimy back porch of Miss Ruby’s delapidating family home while Travis Richardson’s lighting design, Alan Phillips’ sound design and Mikhail Lynn’s props create an authentic daily atmosphere.

Kush’s King gains our sympathies as he expresses his self-doubts and displays his vulnerabilities, detailing the reasons behind his noticeable facial scar, prison sentence, and his impoverished life to date.

He’s trying to grow flowers in a neighborhood of few success stories, an apt metaphor, but an unwavering sense of community is present, even as they lament the disrespectful thug environment encroaching on their turf they try so hard to protect.

The cast excels in fleshing out their characters’ colorful personalities and backstories so that you understand their motivations and philosophies on life. Stool Pigeon and Mister present some welcome humor, which both Smith and Jones are skilled at providing.

Stool Pigeon’s frequent quoting of the Bible often gives the play a spiritual angle that reveals more as it unfolds. “God got a plan. That medicine can’t go against God. God do what he want to do. He don’t have to ask nobody nothing,” Smith matter-of-factly states.

Denise Thimes, Alex Jay, Ka’ramuu Kush. Photo by Keshon Campbell.

Wilson’s views on disadvantaged lives hit hard as their truths tumble out – exemplified by a fiery outburst from Tonya on why she doesn’t want another child, and we feel all of Jay’s anguish.

Davis, a two-time St. Louis Theater Circle acting award winner, is silky-smooth as the charming Elmore, a rascal and former suitor that reconnects with Ruby. He’s trying to soothe his soul on some of the messes of his life.

Davis’s stellar track record with Wilson’s plays continues in one of his finest portrayals, deftly maneuvering the rapid-fire exchanges of a flashy con artist always trying to score.

Thimes, known as one of the best jazz singers in town, fully embodies Ruby, trying to find peace in her golden years, and looking back at regretful missteps.

Costume designer Kristie Chiyere Osi has outfitted the working-class characters specifically, with Elmore’s slick suits and snazzy hats an interesting contrast to everyone else’s casual attire.

Geovonday Jones, Ka’ramuu Kush, J. Samuel Davis. Photo by Keshon Campbell.

The cast is riveting as the action heats up, leading to an explosive climax that left me shaken. The tension is telegraphed all through Wilson’s exceptional prose, as past violence is recounted, but it still stuns.

Nominated for both the Pulitzer Prize and the 2001 Tony Award for Best Play, “King Hedley II” is impactful in its goal, to better understand behavior when people are robbed of dignity and humanity. That message resonates with The Black Rep’s insightful staging.

The Black Rep presents “King Hedley II” from June 19 to July 14 at the Edison Theatre on the Washington University campus. An intergenerational matinee is June 26. It is 2 hours, 45 minutes, with an intermission, and contains mature language. For more information, www.theblackrep.org.

AC Smith as Stool Pigeon. Photo by Keshon Campbell.

Sensational Singing Marks Muny’s Stirring, Lustrous ‘Les Miserables’

Sensational Singing Marks Muny’s Stirring, Lustrous ‘Les Miserables’

By Lynn Venhaus

Dream roles, meet dream cast. The highest caliber of vocal excellence on display cannot be understated, for this third mounting of “Les Miserables” at the Muny shimmers with glorious voices.

In the iconic roles of fugitive ex-convict Jean Valjean and his relentless pursuer Inspector Javert, Broadway veterans John Riddle and Jordan Donica surpassed their powerhouse reputations with a fiery tango as the obsessive adversaries.

Riddle, a Muny standout who won the St. Louis Theater Circle Award last year for his tour de force in “Chess,” and Donica, Tony Award nominee as Lancelot in ‘Camelot,” wowed in all aspects.

Let’s put it this way: If they sang the words to websites’ terms and conditions, you’d listen intently to every phrase before clicking ‘accept.’

With his pure, exquisite tenor and nuanced falsetto, Riddle’s stunning rendition of the showstopping emotional ballad “Bring Him Home” ranks among the most heartfelt Muny moments of all time, and his impassioned “Who Am I?” was breathtaking. His performance had to have pierced everyone’s hearts all the way to the back row.

Jordan Donica, John Riddle. Photo by Phillip Hamer.

Donica’s rich baritone intensity on “Stars” and “Soliloquy” depicted Javert’s inner turmoil.

They are the lightning to the chorus’ thunder, as the sprawling ensemble’s lush harmonies soared into the beautiful summer night of June 18.

And the Muny audience – 7,700 on Tuesday – leaned in, its affection palpable. (And more than a few misty eyes noticeable). You could have heard a pin drop during its 2 hours and 45 minutes runtime.

The epic scope of this stirring sung-through adaptation of Victor Hugo’s 1,463-page novel from 1862 on post-Revolutionary France makes for a challenging and daunting production, especially for a Muny-sized version.

With its massive cast, towering multi-level set revolving on the turntable, and complex story to tell, the revered classic requires everyone involved to be at the top of their game.

While a show of this magnitude isn’t without flaws, the achievement of pulling off one of the grandest musicals ever represents the Muny at its finest. Previous acclaimed productions were in 2007 and 2013, and that one remains burned in my brain as among the best.

John Riddle sings “Bring Him Home.” Photo by Phillip Hamer.

First, this is “Les Miserables.” Beloved. Adored. Claude-Michel Schönberg’s and Alain Boublil’s musical sensation started a landmark world-wide run in London in 1985 before it came to Broadway in 1987, packing houses for 16 years. It was revived in 2006 and 2014.

Over three decades, it has been seen by 130 million people in 53 countries and is the sixth longest-running Broadway musical of all-time. Currently, a U.S. national tour is underway.

Fun fact: This company’s director Seth Sklar-Heyn, music director James Moore and choreographer Jesse Robb are the core artistic team behind that current tour. Sklar-Heyn is also executive producer of all “Les Miz” companies in the U.S., on behalf of the legendary impresario Cameron Mackintosh.

The basics are thus: French peasant Jean Valjean served nineteen years for stealing a loaf of bread for his sister’s starving child, and breaks his parole. He is aided by a merciful bishop in Digne (Ken Page) and makes a fresh start, but is hunted by Javert.

Redeeming himself, he has assumed a new identity as Monsieur Madeleine, a wealthy factory owner and mayor of Montreuil-sur-Mer.

Eventually, a group of young idealistic students attempt to overthrow the government at a barricade in Paris. It’s 1832 and the city is in upheaval because General Lamarque, the only official who seems to care about the poor, is about to die.

The Paris Uprising battle scenes are powerful and dramatic, crystallizing several of the plot points.

Emily Bautista in the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

There are many moving parts, by virtue of the dense story’s blend of revolution and romance, good and evil. While I’m a fan, some of the subplots can be confusing if you aren’t overly familiar with the source material.

A prerequisite is reading the show synopsis, which takes up a full page in the Muny program. Trust me, you need it. It can be overwhelming for newbies and if it’s been awhile since you saw it, doesn’t hurt to refresh.

It races through many years and multiple locations, so buckle up. One needs to focus on who is propelling the plot forward, and there are times when you can’t necessarily spot that character right away because of the busyness.

For instance, I don’t think this staging made Fantine’s predicament clear in a crowded factory scene, nor was an artistic choice for Javert’s death (spoiler alert) as effective as what I’ve seen before.

Photo by Phillip Hamer.

No matter if it’s your second time or 12th, there are certain expectations every fan has. Not all interpretations can satisfy pre-conditioned notions in one’s head, but no one can quibble with the enthralling vocals.

While most shined in their solo moments, the actors’ emoting varied. Fantine has limited time to establish her plight as a desperate and destitute single mom, although Teal Wicks superbly delivered a touching “I Dreamed a Dream,” if not nailing the role’s set-up.

Red Concepcion and Jade Jones as the Thenardiers were not as funny as they could have been, for a show in need of the broad comic relief that “Master of the House” and “Beggars at the Feast” provides. They were less buffoonish and more pathetic.

A major crowd-pleaser was scene-stealer Will Schulte as the streetwise urchin Gavroche, endearing in his number “Look Down.” Another youngster, Kate Kappel, sweetly sang “Castle on a Cloud” as hopeful Little Cosette.

The young performers acting as rebels were among the most impressive – especially poignant Emily Bautista as the tragic Eponine and James D. Gish a revelation as devoted Enjolras.

She tugged at our heartstrings with “On My Own” and Gish was all vigor and verve in his zealous commitment to the cause in “Red and Black,” “Do You Hear the People Sing?” and the rousing showstopper “One Day More.”

From left: Noah Van Ess, Dan Klimko, Peter Neureuther and the company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

Cosette, Fantine’s daughter now living with Valjean, and student leader Marius’ love story is told ardently – with Gracie Annabelle Parker and Peter Neureuther the dashing couple. Marius’ mournful “Empty Chairs at Empty Tables” gets to me every time.

The company of 77 sings their hearts out. Twenty members of the St. Louis Symphony Chorus — soprano, alto, tenor and bass-baritone — joined 35 professional actors and 22 local youth performers on stage (and backstage)

The sumptuous, assured musical direction and conducting by virtuoso James Moore is significant. Working with Schonberg’s music score and lyrics by Herbert Kretzmer, from original French text by Alain Boublil and Jean-Marc Natel, he is using new orchestrations from Christopher Jahnke, Stephen Metcalfe and Stephen Brooker.

Moore’s body of work – 12 shows at the Muny– has been distinctive, bringing out the shadings in Stephen Sondheim’s “Sweeney Todd,” “West Side Story” (fervent Leonard Bernstein-level!)  and “Gypsy,” but his efforts leading an epic “Les Miz” delivers an extraordinary aural treat. Special mention of associate music director Michael Horsley whose contributions are important.

And the exceptional 25-member orchestra, whose musicality is peerless, brings out all the feelings in this music. As a native of Belleville, Ill., I must mention recently deceased Bellevillian Vicky Smolik, who played trumpet in the Muny orchestra for 45 years. This opening production is dedicated to her memory.

Photo by Phillip Hamer.

From the bombastic opening chords and the score’s rich repetitive motifs, through the robust anthems, yearning expressions and tender love songs, the orchestra has produced numerous chill-inducing moments.

DirectorSklar-Heyn has made sure a zippy pace is maintained. Praise must be heaped on the stage manager Willie Porter and her three assistant stage managers Sarah Azizo, Eric Elz, and Joshua Vinik for the smooth flow of action.

The ace technical wizards included lighting designer Jason Lyons, scenic designer Ann Beyersdorfer, video designer Shawn Duan, and sound designers John Shivers and David Patridge.

Gail Baldoni’s costume design was mostly gritty, with class distinctions for the lavish wedding attire, nobility and military uniforms, and Ashley Rae Callahan’s wig design coiffed the characters’ appropriately.

“Les Miz” celebrates courage, conviction and community, and its recurring themes are timeless. You can see why it endures and feel how passionate both the performers and the audience are about it in this Muny opener to the 106th season.

The Muny presents “Les Misérables” at 8:15 p.m. nightly, June 17-23 on the outdoor stage in Forest Park. The show is 2 hours, 45 minutes, with an intermission. For more information, visit www.muny.org.

Teal Wicks in the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

Spry Cast Distinguishes Stray Dog Theatre’s Lightweight ‘Ripcord’

Spry Cast Distinguishes Stray Dog Theatre’s Lightweight ‘Ripcord’

By Lynn Venhaus

Winning performances enliven a slickly produced “Ripcord” that sprinkles poignant moments among well-executed broad physical humor.

In the vein of classic sitcoms like “The Golden Girls” and the evergreen Neil Simon smash hit “The Odd Couple,” Stray Dog Theatre’s latest play is relatable because of a finely tuned ensemble convincing in a clash of temperaments and wills.

This 2015 comedy from the acclaimed playwright David Lindsay-Abaire is not as emotionally gut-wrenching as his Pulitzer-Prize winning drama “Rabbit Hole,” or as piercing as his social commentary “Good People,” but its familiar beats entertain.

Last year’s Tony winner for Best Book and Score (Lyrics) of a Musical for “Kimberly Akimbo,” Lindsay-Abaire has adapted “Shrek” and “Cinderella” into hit musicals with a populist flair.

Sprightly Annie Bayer and Jan Mantovani play the two warring widows at the center of this good-natured work, keeping a brisk pace with graceful movements and snappy banter.

Matt Anderson, Donna Parrone, Jan Mantovani. Photo by John Lamb.

Mantovani is delightful as an endlessly chipper Marilyn whose sunniness annoys the perpetually grouchy Abby (Bayer), her new roommate at an assisted living center. They deliver zingers with aplomb as their differences and life stories emerge.

However, because Abby is such a prickly personality and unrelentingly dour, Bayer’s character comes across as more one-note, but she will have opportunities to provide some backstory context to her behavior.

It’s obvious from how it’s written that one is immediately drawn to the agreeable Marilyn and unsympathetic to the constantly complaining Abby, who doesn’t play well with others.

When Abby exhausts the conventional means to have Marilyn moved to a different room, the pair lay their cards on the table. They make a bet with each other, with the prize this plum second-floor real estate. Marilyn can have the bed closest to the window overlooking a park if Abby makes her angry, and she’ll move out if she can scare Abby.

The dirty tricks escalate – some hurtful and mean – until a winner is declared. While the sweet-and-sour duo play off against each other well, it is the addition of sharp supporting players that swiftly moves the story along.

Victor Mendez is the pleasant aide Scotty, an aspiring actor, who connects the dots to the facility’s staff and procedures. Donna Parrone is Marilyn’s loving daughter, Colleen, and Matt Anderson is her goofy but well-meaning husband Derek. They’re supportive and assist with the schemes.

Jan Mantovani, Jeremy Goldmeier. Photo by John Lamb.

Anderson and Parrone also humorously double as part of a very theatrical trio of actors trying to frighten people at a bargain-basement haunted house. Jeremy Goldmeier joins them in this wildly overzealous troupe. He also adroitly flips the switch as Benjamin, Abby’s estranged son.

Their expert comic timing is a plus as slapstick-y shenanigans are nimbly staged.

Gary F. Bell skillfully directs in a light-hearted style, emphasizing humorous exchanges and surprising developments. The pranks look fun to pull off, and the actors keep the action fresh and the element of surprise genuine.

Rob Lippert’s set design depicts a standard double-bed room, with ubiquitous institutional décor, and has smoothly indicated scene changes involving a haunted house and skydiving experience.

Costume designer Colleen Michelson has selected appropriate casual attire for each character, and Tyler Duenow’s lighting design is effective.

Of special note is Justin Been’s sound design, which is a tad more complicated than one would think, given the play’s simple senior living setting. But he masterfully weaves in authentic sounds incorporating skydiving and a dramatic spooky scenario, not to mention a music score that compliments the story.

The cast engages and the crew’s efforts to polish this production are evident. The play may lack the substance featured in Lindsay-Abaire’s other works, but it satisfies because of an earnest team caring to make it personal.

Stray Dog Theatre presents “Ripcord” from June 6 to June 22, on Thursdays through Fridays at 8 p.m., with a special matinee at 2 p.m. on Sunday, June 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking.

Tickets: Adults $35 / Seniors (65+) & Students $30 (Cash/Checks/All Major Credit Cards). Additional Information and Ticket Reservations: Call (314) 865-1995 or visit www.straydogtheatre.org. Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre.

Matt Anderson, Victor Mendez, Jan Mantovani, Annie Bayer. Photo by John Lamb.

‘Treasure’ Never Connects In The Way It Sets Out to Achieve

‘Treasure’ Never Connects In The Way It Sets Out to Achieve

By Lynn Venhaus
Alternating light humor with traumatic memories, “Treasure” never really comes together as an effective homeland revisit by a Holocaust survivor and his well-meaning daughter.

An uncomfortable odd couple road trip feels leaden and disjointed, which is disappointing given the two gifted performers and an acclaimed team behind this misfire.

Adapted from the 1999 semi-autobiographical novel, “Too Many Men” by Lily Brett, “Treasure” stars Lena Dunham as a deeply unhappy divorced New York journalist who has taken her widowed father to his homeland.

As Ruth Rothwax, Dunham thinks a look back into family history will help her connect to her father, Edek, a wonderfully genial Stephen Fry. For reasons clear to everyone but his daughter, Edek is a reluctant guide, and indifferent to seeing historical sights and places that remind him of his past family life.

There is a great pain there that is barely delved into — honestly. I mean, how does one get past that? (And there have been countless movies addressing those topics with far greater depth).

This attempt to add humorous situations feels forced. The pair clearly exasperate each other. It’s 1991 and Edek’s wife has been dead for about a year. He still considers his daughter’s ex-husband a friend and can’t understand why they are no longer married.

Not wanting to take a train, he hires a taxi driver, Stefan, to be their chauffeur. He’s played with a droll sense of humor by the terrific Polish actor Zbigniew Zamachowki, a veteran of the “Three Colors” films – Red, White and Blue.

As the pair bicker, their differences are stark – dad is an extrovert and daughter is an introvert. He loves to have a good time and engage people in conversation; she’d rather be reading.

Traveling through Poland provides a rich sense of history, most of it unpleasant. Ruins are everywhere, recalling a time of Nazi occupation and the fall of the Iron Curtain in a country that hasn’t recovered nor has reconciled with its past. The production design by Katarzyna Sobanska and Marcel Slawinski effectively portrays the complexities. They worked on the stunningly atmospheric Polish films “Ida” (Oscar winner for Best International Feature) and “Cold War.”

Director Julia von Heinz’s heart is in the right place, but the script she has co-written with her husband and frequent collaborator John Quester never really fleshes out the relationships in an engaging way.

That’s not to say there aren’t moments of devastating poignancy, especially when Edek returns to his family’s home, a childhood memory before they were rounded up and sent to Auschwitz-Birkenau.

The family currently living there is defensive and downright hostile, lying that they don’t have anything left of Edek’s family, but he discovers their possessions tucked away in places.

The most stunning – and horrific – footage is Edek’s return to the death camp, now a tourist site. Of course, it conjures up the trauma and the ghosts of what happened there. The wide shots of rows and rows of barracks remains a powerful testament to men’s inhumanity to man.

That’s tough for anyone, let alone the character revisiting the scars, and having the scabs ripped off.

The most puzzling aspect of this storytelling is to bring up tiny details about Ruth’s neuroses but only provide snippets without much context – her marriage issues, her eating disorder, self-tattooing numbers. We don’t ever get a sense of Edek’s wife and Ruth’s mother, either.

Dunham and Fry appear to genuinely connect, but something about this template doesn’t elevate the relationship beyond the tropes. Dunham, who hasn’t done much acting since ending her popular “Girls” series on HBO, and Fry, a beloved British multi-hyphenate, do what they can with the underwritten roles.

Trying to understand the Holocaust’s effect on her family and the focus on heritage is a noble gesture, but not sure that experience is enough to sustain this as a film. It sputters when it tries to be sentimental.

“Treasure” is a 2024 comedy-drama directed by Julia von Heinz and starring Lena Dunham and Stephen Fry. It is rated R for language and run time is 1 hour, 51 minutes. It opened in select theatres June 14. Lynn’s Grade: C-.

Albion Theatre’s ‘Woman in Mind’ Vividly Contrasts Fantasy Life with Harsh Realism in an Acting Showcase

Albion Theatre’s ‘Woman in Mind’ Vividly Contrasts Fantasy Life with Harsh Realism in an Acting Showcase

By Lynn Venhaus

Something is noticeably off-kilter as “Woman in Mind” embarks on an exploration of mental illness, an unusual dramedy from one of England’s most highly regarded playwrights, Alan Ayckbourn.

Albion Theatre, which specializes in works centered in the United Kingdom, tackles another complex production with elan. With its rigorous roles and uncommon style, “Woman in Mind” has a higher level of difficulty to pull off than last year’s amusing Ayckbourn black comedy “Absent Friends.”

But as with all their shows, they attract a top-tier ensemble, and this one’s a well-modulated unit – with each performer standing out in their debuts with the company.

Director Robert Ashton keeps the audience on their toes, for this play is told from a subjective first-person perspective. The imaginary world is vividly presented.

Ayckbourn, who has written 90 plays, has often toyed with conventional structures and crafted eccentric characters, many of whom are going through relationship difficulties and are at a crossroads.

He is fond of presenting class and gender discrepancies, with his quirky wit, and this one tackles certain failures to address mental health before it reaches crisis level.

Word is that “Woman in Mind” draws from his mother’s nervous breakdown and his estranged relationship with his son. In any case, it feels authentic despite the absurdities, and some outlandish swerves later in the narrative.

Written in 1985, the play is set in a home’s backyard garden in a small town south of London, and a loveless marriage is the springboard to how neglect manifests madness.

The main character, Susan, appears dazed and confused after falling while doing yardwork, initially conked on the head by a rake. Never leaving the stage, Emily Baker is compelling as she expresses every fleeting emotion when trying to figure out what has happened to her.

Emily Baker, Matt Hanify and Ryan Lawson-Maeske. Photo by John Lamb.

It’s a tour de force performance, for Baker adroitly alternates between a surreal dream life and a grim nightmarish reality. While a brain injury is no laughing matter, how Ayckbourn handles the tonal shifts is interesting.

Miserable spouses have been key components to social commentaries the women’s liberation movement of the 1970s produced in films such as “Diary of a Mad Housewife,” “An Unmarried Woman,” and “Alice Doesn’t Live Here Anymore,” and one could draw similarities here.

Ayckbourn is actually bold and daring when revealing the two very different scenarios as supporting characters are introduced. We see what Susan sees and hears what she does, and the blurred lines are striking.

Danny Brown’s thoughtful performance as Bill Windsor, Susan’s concerned, caring doctor, triggers the red flags. The hallucinations are played for laughs, not unlike a vintage screwball comedy.

When an attentive husband, a jovial brother and an adoring daughter show up, acting more like characters in a modern prescription drug commercial or referencing a 1960s TV family sitcom, the unreal atmosphere is intriguing.

It helps that Isaiah Di Lorenzo, in jaunty Cary Grant mode, and Joseph Garner, as an exaggerated version of beloved Brit comic actor Terry Thomas, willingly chew the scenery playing the fantasy husband Andy and cheerful sibling Tony. Both forces of nature on local stages, their performances always entertain and usually have a surprise element.

The expressive relationship dynamics point to Susan’s unhappiness. Sarah Vallo plays the fantasy daughter Lucy in the image of a perky, agreeable debutante that appears to be her mum’s best friend.

Joseph Garner and Emily Baker. Photo by John Lamb.

These idealistic images contrast sharply with the real people causing her pain. Matt Hanify plays her dull and self-absorbed husband Gerald, a vicar, as an unaffectionate stick-in-the-mud, and Ryan Lawson-Maeske is her tone-deaf son Rick, an ungrateful selfish adult who hasn’t communicated with his mother since he joined a cult, but now is free.

From her point of view, neither are willing to give her what she craves, and their lack of compassion has led to Susan’s breaking point.

These are unsympathetic roles convincingly portrayed by Hanify and Lawson-Maeske. But in another twist, they offer some harsh truths about Susan’s failings as a wife and mother that add another layer of dysfunction.

In a comic relief role, Susan Wylie is Muriel, Susan’s sister-in-law who often acts as a housekeeper, equal parts exasperated and daffy. And her culinary mishaps are hilarious. She is obsessed, however, with her deceased husband.

Because a nervous breakdown is a central theme, one imagines an unsettling and disturbing conclusion is inevitable, a la Tennessee Williams, rather than a happy musical comedy ending.

Aiding the creeping darkness is fine technical work from the creative staff. Michelle Zielinski’s lighting design and Jacob Baxley’s sound design enhance the moods while Tracey Newcomb’s costume choices match the personalities involved.

Erik Kuhn’s straightforward scenic design simply depicted a tidy garden, and he also oversaw the crisp tech work. Gwynneth Rausch’s ace work in multiple roles – assistant director, stage manager, and props – is again commendable.

The play, at about 2.5 hours plus intermission, becomes tedious with nonsensical gibberish in the final stretch as we toggle back-and-forth between a heightened reality and an increasingly wild series of events surrounding Lucy’s wedding that indicates David Lynchian weirdness.

But Baker’s mesmerizing performance showcases her keen intelligence and grasp of the character’s requirements, and that level of difficulty is not unlike a marathon runner, for the stamina on display is extraordinary.

After establishing herself as one of the more accomplished performers in town, she took a hiatus several years ago for all the right reasons, and now is back on the boards. It’s an exciting leading role return that should not be missed.

Joseph Garner, Danny Brown and Isaiah Di Lorenzo. Photo by John Lamb.

Albion Theatre presents “Woman in Mind” June 7 – 23 weekends at the Kranzberg Black Box, with performances at 8 p.m. Friday and Saturday, and at 2 p.m. on Sunday.  For more information, visit www.AlbionTheatreSTL.org.

While Not As Innovative as Original, ‘Inside Out 2’ Is A Clever Revisit

While Not As Innovative as Original, ‘Inside Out 2’ Is A Clever Revisit

By Lynn Venhaus
Nearly 10 years after Pixar Animation Studios raised the bar again with a mind-bending and rib-tickling “Inside Out,” which became an instant classic, a clever sequel thrusts our now 13-year-old heroine Riley into red-alert puberty.

While not as innovative as the original, “Inside Out 2” offers a relatable take on very raw and very real adolescent emotions. An all-star cast, including some returning voices, delivers the same tempo and tone that made the first so endearing.

Both films emphasize that life’s ups and downs are teachable moments, and that’s an admirable focus as the filmmakers try to be faithful to the projects’ goals.

Perhaps no year in our lives is as anxious and awkward as being 13 is. Oh, those raging hormones and their unpredictable effect. I mean, who would ever want to repeat it? We remember, and this universal theme is a rich one.

The sequel connects as an amusing look back for parents and perhaps either as a cautionary tale for what’s ahead with their pre-teen offspring or a reminder of what their grown children were like back then.

Because Riley is dealing with those quicksilver ever-changing emotions, Anxiety, Embarrassment, Envy and Ennui are an imaginative addition. The boredom expressed by Ennui is the funniest running gag.

That fuels a turbo-charged narrative mixing with the already prominent voices in her head — the color-coded network of Joy, Fear, Anger, Sadness and Disgust. That results in a hyper-kinetic energy that feels very busy.

Although the animated comedy-drama-fantasy’s zippy excursion into a teen trying to navigate fitting in while also wanting to stand out does humorously hit all the identifiable pitfalls.

An avid hockey player, Riley (Kensington Tallman) hopes to make the team in high school and enthusiastically attends an exclusive-invite summer camp under the discerning eye of Coach Roberts (Yvette Nicole Brown).

Her dedication and work ethic are admirable, but she struggles to keep her old classmates Grace and Bree (Grace Lu and Sumayyah Nuriddin-Green) close while trying to be pals with the star player Val Ortiz (Lillimar), part of the cool kids’ squad.

It appears that she has a lot to learn, as do the emotions guiding her thoughts and movements. With the original five trying to hold on to control in a command center undergoing changes, the mind games escalate.

Amy Poehler’s perky Joy is in a mad rush to obtain order while Maya Hawke’s jittery fast-talking Anxiety fights to take over. She has brought along three inspired characters — Envy (Ayo Edibiri), Embarrassment (Paul Walter Hauser) and Ennui (Adele Exarchopoulos) to ramp up the pressure. And they are hilarious.

This fab five includes memorable turns from two regulars — Lewis Black as tightly wound Anger and Phyllis Smith as mopey Sadness. Also returning are Riley’s well-meaning parents, voiced by Kyle MacLachlan and Diane Lane.

Without skipping a beat, Tony Hale replaced Bill Hader as the fidgety Fear and Liza Lapira took over from Mindy Kaling as sassy Disgust. Another notable addition is June Squibb as Nostalgia.

The first one benefitted from co-writer and co-director Pete Docter using his personal experience of moving his family from Minnesota to San Francisco. The issues that came with a new home and new school resonated.

A master visual storyteller, Docter is only executive producer on this. However, co-screenwriter Meg LeFauve, who was part of the 2016 Oscar-nominated writing team, has returned. Dave Holstein is a new writer, and Kelsey Mann is the first-time director.

Mann’s previous three Disney films – “The Good Dinosaur,” “Lightyear” and “Onward” were among my most disappointing efforts of the past 10 years. I didn’t think the concepts worked. However, the points about children inevitably growing up comes together here with its can’t-miss interesting characters..

This sequel concentrates on an uncharted period of development in Riley’s maturation, while maintaining a clear focus on her life’s bigger picture – her belief system and that she is a good person. Her strongest attributes are kindness, compassion and level-headedness..

Midway, this journey gets bogged down with an overly complex hunt — yet the introduction of sarcasm is ingenious. as are characters in a vault. Stealing the show is Ron Funches as “Bloofy,” a popular children’s TV cartoon character, and his accessory, Pouchy, voiced by James Austin Johnson of “Saturday Night Live” fame.

NEW EMOTIONS — Disney and Pixar’s “Inside Out 2” returns to the mind of newly minted teenager Riley just as new Emotions show up. Envy (voice of Ayo Edebiri) and Ennui (voice of Adèle Exarchopoulos) are ready to take a turn at the console. © 2024 Disney/Pixar.

Besides an impressive use of state-of-the-art technology for a visually stunning bright palette, the best feature is the cast’s sharp comedic skills, which are showcased as they nimbly deliver quick-witted dialogue.

Although heartfelt, the sequel isn’t the misty-eyed tug on emotions that the original was. Still, its sincerity goes a long way in making this film work.

“Inside Out 2” is a 2024 animated family comedy-drama-fantasy directed by Kelsey Mann and stars Amy Poehler, Maya Hawke, Lewis Black, Tony Hale, Phyllis Smith, Ayo Edebiri, Grace Lu, June Squibb, Sumayyah Nuriddin-Green, Yvette Nicole Brown, Kyle MacLachlan, Diane Lane and Kensington Tallman. It is rated PG for thematic elements and run time is 1 hour, 36 minutes. It opened in theaters June 14. Lynn’s Grade: B.

Merry Ensemble Enlivens Shakespeare’s Frisky Frolic ‘As You Like It’

Merry Ensemble Enlivens Shakespeare’s Frisky Frolic ‘As You Like It’

By Lynn Venhaus

Need a vacation? Escape to Forest Park’s Shakespeare Glen for an idyllic summer treat, for “As You Like It” is a robust, refreshing tonic that celebrates the restorative powers of art, love, and nature.

An absolutely perfect vehicle for the St. Louis Shakespeare Festival’s annual offering, this 1623 romantic comedy is fun and frisky.

It’s been 20 years since it was last performed on the mainstage, and one of the playwright’s most accessible.

Sprinkling her magic fairy dust, director Nancy Bell demonstrates why she is a master interpreter of the Bard. A creative genius, she stamps every project with esprit and has a firm grasp of iambic pentameter.

In much the same way she has engaged audiences by transforming classics into easy-to-understand mashups in past local Shakespeare in the Streets projects, she maintains a breezy and playful atmosphere.

The festival’s former playwright-in-residence, she wrote the vigorous “Remember Me” performed outdoors in Maplewood, “Blow Winds!” downtown, “Good in Everything” in Clayton, “The New World” in Benton Park West, and the St. Louis Theater Circle Award winners for Best New Play “The World Begun” in Old North St. Louis and “Old Hearts Fresh” in The Grove.

Christian Thompson, Wali Jamal.. Photo by Phillip Hamer.

To further illustrate a point about embracing change in “As You Like It,” Bell’s adaptation is a liberating antidote to a stuffy and strait-laced patriarchal Gilded Age.

A scintillating ensemble conveys a more laid-back, accepting merry band of brethren – well, emphasis on a sisterhood – once action shifts to the Forest of Arden.

The contrasts couldn’t be sharper when imperious Duke Frederick – ever-reliable Joel Moses in high-handed wickedness, banishes his sister Duchess Senior, a feisty Michelle Hand, from the royal court. Oh pshaw!

Defiantly, the Duchess flees to the Forest of Arden, where she discovers exile can be rejuvenating. It’s another memorable performance from the inspired Hand.

Also thriving in this pastoral setting is the Duchess’ daughter Rosalind, a clever girl who disguises herself as a man, Ganymede. After all, this is Shakespeare, so of course the plot includes mistaken identities.

Caroline Amos is poetry in motion as Rosalind, sprinting across the stage with boundless energy. She is matched by the delightful Jasmine Cheri Rush as her loyal cousin-best friend Celia, the Duke’s daughter. Rush has returned for a second year, after playing Olivia in last summer’s “Twelfth Night.”

Bianca Sanborn, Michelle Hand, Riley Carter Adams, Beth Bombara. Photo by Phillip Hamer.

Rosalind falls in love with affable landowner Orlando, also displaced, and Christian Thompson is a charmer as her heroic object of affection, if a bit dim because he doesn’t suspect anything unusual.

In fairness, he’s pre-occupied trying to stay one step ahead of his scheming brother Oliver (Greg Cuellar), who is not very nice – as in trying to get his sibling killed.

Their lives become topsy-turvy, with thankfully Orlando having a change of heart, and the sweet Celia zeroes in on him.

Further wackiness ensues with the introduction of effervescent Ricki Franklin as bawdy Touchstone, a clownish character. Franklin’s a bright addition for the second year in a row, a scene-stealer last summer as Dame Toby Belch in “Twelfth Night,” a gender-bending turn that earned her a St. Louis Theater Circle Award,

Delivering one of Shakespeare’s most famous soliloquys, “All the world’s a stage…,” the mellifluous Wali Jamal earned applause immediately after reciting the passage so eloquently. He plays Jaques, a solitary and gloomy man who leans towards the melodramatic.

The multi-generational cast includes familiar and fresh faces, notably local treasure Joneal Joplin, who was in the festival’s first Forest Park show, “Romeo and Juliet,’ in 2001. He returns for his seventh one as Adam, a devoted servant of Sir Rowland de Boys, who is Oliver and Orlando’s father.

Jasmine Cheri Rush, Caroline Amos. Photo by Phillip Hamer.

Making her festival ensemble debut is winsome young teen Riley Carter Adams, a seasoned performer on local stages with television credits. She is listed as “young lady.”

Romance is on the mind of several characters. Kathryn A. Bentley is a likable shepherd Corin, a sage advisor to Silvius, who is not listening. CB Brown is endearing as the lad in need of guidance, for he’s in pursuit of Phoebe, who only has eyes for Rosalind (Ganymede).

Molly Wennstrom is spirited as the unpleasant but lovestruck shepherdess, whose course is altered by Touchstone’s interesting moves. Phoebe’s due for a rude awakening.

Two of the goofiest characters are Isaiah Henry as William, a simple, unsophisticated country boy crushing on goatherder Audrey, humorously played by Bianca Sanborn.

In a crowd-pleasing turn, St. Louis professional wrestler Lenny Mephisto, aka Maniacal Mephisto, is pitted against Orlando as Charles, a wrestler in the duke’s court.

The wrestling match is well-staged, thanks to savvy fight and intimacy choreographer Rachel Flesher, and Cuellar, who also is fight captain.

Lenny Mephisto, Christian Thompson wrestle. Photo by Phillip Hamer.

Captivating music is an integral part of this vibrant tableau, with an original score performed live on stage by local musician Beth Bombara in the role of faithful friend Amiens. Joining her are Sam Golden on viola and mandolin and percussionist Jeremy Reidy.

Scenic Designer Scott C. Neale, whose work has always astonished on the outdoor stage in Shakespeare Glen, has created a striking bucolic setting that is reminiscent of an old-timey illustrated picture book. Its reveal earned a hearty round of applause.

Among his six previous designs, you may recall his stunning set for “Antony and Cleopatra” in 2015 and “Henry IV and V” the year before.

As is customary, the technical work is superb, with distinct work by lighting designer Denisse Chavez and costume designer Dottie Marshall Englis. Sam Gaitsch choreographed buoyant moves, and props manager Taylor Laine Abs kept the accessories simple.

The unpredictability of working with live farm animals is evident with a goat and a sheep from D Bar S Ranch, which amused the crowd May 31. Apparently, from new accounts, they are adjusting to life in the spotlight.

Bianca Sanborn, Ricki Franklin. Photo by Phillip Hamer.

With its exuberant and energetic cast having a swell time on stage, that translates into one of the most enjoyable Shakespeare Festival’s mainstage efforts to date.

Due to their high standards, the festival has grown into the largest free outdoor Shakespeare play between the coasts. It’s a well-deserved achievement, and this supremely entertaining effort is not to be missed.

The festival is one of the best things about living in the St. Louis metropolitan region, and we are so very fortunate to be able to smile on a summer night under the stars in Forest Park.

St. Louis Shakespeare Festival presents “As You Like It” from May 29 to June 23, Tuesday through Sunday, at 8 p.m., free in Forest Park (Shakespeare Glen). https://stlshakes.org/production/as-you-like-it/

Shakespeare in the Park is free to attend, no reservations or tickets required for any of the performances. But every night a small number of reserved chairs and blanket spots are available for purchase – directly supporting the Festival’s mission and year round programming. Find your favorite spot: in the blanket-only section, box seats for up to six guests or general single-chair reservations.

CB Brown, Molly Wennstrom, Caroline Amos, Jasmine Cheri Rush. Photo by Phillip Hamer.
The company. Photo by Phillip Hamer.

‘Dracula’ Musical Embraces the Myth’s Mystery and the Macabre

‘Dracula’ Musical Embraces the Myth’s Mystery and the Macabre

By Lynn Venhaus

The children of the night are making some lusty music in the musical “Dracula,” a different take on the gothic horror classic whose folklore has become a pop culture staple.

Lush voices soar in a foreboding dark shadow setting, with New Line Theatre putting their own stamp on a stripped down, impressionistic version of Frank Wildhorn’s much-maligned 2004 Broadway musical that has since been heavily revised and became a hit overseas.

Of the many variations of Bram Stoker’s 1897 horror fantasy novel, this very dramatic musical version combines alluring romance with an unsettling thriller narrative devoid of any humor or camp, which has been easy to slide into with vampires over the years. (Case in point: “What We Do in the Shadows.”)

However, Chris Strawhun amuses as one of the characters, a straight-talking Texan named Quincey Morris while delivering his good ol’ boy dialogue.

This tight-knit group, of both familiar and fresh faces, is committed to getting the tone and tempo right. They strive to convince in their portrayals as either under Dracula’s hypnotic spell, resisting it, or desperate vampire hunters.

Brittany Kohl, Vanessa Simpson. Photo by Jill Ritter Lindberg

Their vocal prowess is its strongest suit because this show’s intention is to have more of an emotional core, not aiming to scare or even conjure suspense, in this supernatural world.

Supporting players circle the bewildering nobleman, Count Dracula, an imposing yet enigmatic figure confidently played by Cole Gutmann.

He has summoned solicitor Jonathan Harker (Ian McCreary) to assist in the purchase of a home in England.

Despite being told not to wander around the castle in the Carpathian Mountains, Harker does just that, encountering the Weird Sisters, a trio of nubile undead, who entice him to do bad things. McCreary presents the character as a stand-up guy, but weak.

Ann Heir Brown, Chelsie Johnston and Sarah Lueken bewitch as the seductive trio, slithering around the minimalist stage. With sinful looks and slinky attire, the characters add a provocative edge. They are choreographed by co-director Tony L. Marr Jr.

They initially set the eerie mood with the opening number, “Prologue,” then join McCreary in “Jonathan’s Arrival.” All three have melodic voices, evident on “Forever Young” and joining Guttmann on “Fresh Blood.”

Well, that situation doesn’t go well for Harker, and he winds up in a hospital. His smart and lovely fiancé Mina Murray (Brittany Kohl) changes her holiday plans with best friend Lucy Westenra (Vanessa Simpson) and leaves Whitby Bay, a seaside town in England.

Kent Coffel, Ian McCreary, Kohl, J.D. Pounds. Photo by Jill Ritter Lindberg

A sense of dread surfaces in Mina and Lucy’s duet, “The Mist,” and their nightmares begin.

The women, confined to the society standard of being an adornment on the arms of successful men, keep ignoring red flags but this mysterious aristocrat has captured their fancy. Kohl and Simpson are believable as women who may want more out of life.

The fetching Lucy, wooed by three men, chooses the dullest guy to marry, Arthur Holmwood, earnestly portrayed by Alex Vito Fuegner. Another suitor is Jack Seward, a doctor specializing in psychoanalysis, who is played with authority by J.D. Pounds.

Their number, “How Do You Choose?” sets up their relationships. Despite Lucy marrying Holmwood, the guys are friends and factor into the group trying to protect everyone from sinister forces.

Seward is the gateway to his patient, the insane assistant Renfield (Rafael DaCosta), who is mind-controlled by the count.

DaCosta and the Weird Sisters collaborate on “The Master’s Song,” indicating their servitude.

DaCosta adds some verve to the proceedings, as does Kent Coffel as Professor Abraham Van Helsing, the obsessed vampire slayer. Sporting a Dutch accent and explaining how to snare a vampire, Coffel grounds the show as the iconic presence.

Rafael DaCosta as Renfield. Photo by Jill Ritter Lindberg

Coffel, an MVP in supporting roles, has more contributions musically — two solo numbers, “Nosferatu” and “Summers Come, Summers Go,” and performs “Undead One” and ‘Deep into the Darkest Night” with the suitors. Van Helsing also duets with Dracula in “It’s Over.”

This production focuses on the seriousness of the times, and the traditional roles in Victorian society. Stoker’s aggressively sexual characters were a novel idea in that era, for polite society followed rigid rules of decorum.

Flirting with forbidden eroticism has always been an appealing aspect of the mythology – and if you’ve seen Francis Ford Coppola’s “Dracula” movie in 1992, the ‘True Blood’ series on HBO, and even the ‘Twilight’ franchise, you don’t have to be Fellini to figure out the temptation metaphors.

Director Scott Miller and co-directory Marr keep it tasteful, implying the blood lust without fangs or special effects, or icky graphic stuff.

Both Mina’s and Lucy’s seductions are simply staged, and the deaths through various implements are downplayed. (Although blocking prevented me from seeing Lucy’s beheading).

This cast must build the desire and the fear into their characterizations because, unfortunately, the book by Don Black and Christopher Hampton is like a Cliff Notes version of the source material. It’s neither fascinating nor passionate, and the actors have to do the heavy lifting on their own.

Coffel, Cole Guttmann. Photo by Jill Ritter Lindberg

It’s important to be aware of the basic Dracula scenario, for this script has little world-building, assuming you’re well-versed in it.

The setting toggles back and forth between a castle in Transylvania, England, a ship, Budapest, and a mental asylum, which can be difficult to follow if you’re not plugged into the most famous vampire figure in history.

Black’s lyrics have more exposition than the book. Gutmann’s soulful voice stirringly delivers Wildhorn’s grandiose ballads, injecting a more tortured, troubled persona rather than a monstrous villain into the numbers.

And he does so admirably, from his first number “Solitary Man” to “At Last” and finale. His anguish and his power are explored in “A Perfect Life/Loving You Keeps Me Alive” with Kohl and McCreary, one of the standout numbers.

Lucy is doomed, and Simpson is impressive as the poor unfortunate soul. She and Gutmann display a palpable chemistry, and that may be chalked up to being partners in real life.

Their number, “Life After Life,” joined by the company, sets up the inevitable trajectory, and their harmonies are solid.

Kohl, Guttmann. Photo by Jill Ritter Lindberg.

When Dracula falls in love with Mina, that allows for some outstanding vocal work by Kohl and Guttmann. Kohl is capable of pathos, as exemplified in “Please Don’t Make Me Love You” and “If I Had Wings.”

I wouldn’t say sensuality is evident, but as accomplished singers, they know how to deliver poignancy.

The designers have expertly crafted a creepy atmosphere, with Matt Stuckel’s lighting design and Ryan Day’s sound design establishing an off-balance feel.

Costume designer Zach Thompson has fashioned appropriate 19th century styles and sultry outfits for the Weird Sisters, with nifty little details to make the looks interesting..

Lippert’s skills have highlighted functionality for the scenic design, making the most with a few signature pieces – a centerpiece crypt doubles as a bed and a table and there is a striking stained glass window.

Music Director Jenna Lee Moore, who helmed “Nine” last year, has a terrific group of six musicians and plays keyboard. Paul Rueschhoff is on cello, John Gerdes on brass/bass, Mary Wiley on reeds, Mallory Golden on violin, Buddy Shumaker on guitar and second keyboard, and Clancy Newell on percussion.

Wildhorn is a hit-and-miss with me. When New Line spiffed up his “Bonnie and Clyde” in 2014, it was one of my favorites that year, showcasing top-notch performances and telling a compelling story.

He is the composer of both pop songs (“Where Do Broken Hearts Go” for Whitney Houston) and musicals, including his most famous, “Jekyll & Hyde” that ran for four years on Broadway. In 1999, he made history by having three shows run simultaneously – besides Jekyll & Hyde, “The Scarlet Pimpernel” and “The Civil War” were also on Broadway.

This musical version of “Dracula” isn’t as fascinating as one expects, given our knowledge of the story, and a reference base from more than 30 films based on the world’s most famous vampire. But this is a sturdy cast whose efforts are noteworthy.

You may not leave humming a tune or consider any of the songs as memorable as Wildhorn’s “This Is the Moment,” from “Jekyll and Hyde,” but you won’t forget the music New Line’s team made.

Photo by Jill Ritter Lindberg.

New Line Theatre” presents “Dracula” May 30 – June 22, Thursdays, Fridays and Saturdays at 8 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, in the Grand Center Arts District. For more information, visit: https://www.newlinetheatre.com.

To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

Photo by Jill Ritter Lindberg.

Stages St. Louis’ ‘Steel Magnolias’ Effusive In Heart and Humor

Stages St. Louis’ ‘Steel Magnolias’ Effusive In Heart and Humor

By Lynn Venhaus

With its Dream Team of actresses eliciting all the feels, a sterling “Steel Magnolias” is a warm and wry reminder about the connective tissue that binds us – whether it’s family, friends or community ties.

In only the second play produced by Stages St. Louis, following the runaway success of last year’s “Clue” (winner of five St Louis Theater Circle Awards out of 11 nominations), the company has kicked off its 38th season with an enduring classic.

Robert Harling’s beloved comedy-drama honored his late sister, Susan-Harling Robinson, who died of complications from Type 1 diabetes in 1985. Taking place over three years, the play celebrates the special bond of a group of women in a small Southern town.

First presented off-Broadway in March 1987, the play opened on Broadway that June, and ran for 1,126 performances until it closed in 1990. The original 1989 smash hit film starred an all-aces ensemble including Sally Field, Shirley MacLaine, Olympia Dukakis, Dolly Parton, Darryl Hannah and Julia Roberts in her first Oscar-nominated role.

Those are some heavy shoes to fill, but with this irresistible group, it’s a pleasure to watch them interact like they’re an Olympic sports team at play. Their fervor for this work is obvious, and they each bring something fresh to their roles.

Photo by Phillip Hamer

In her Stages St. Louis debut, intuitive Amy Loui anchors the cast as doting but worry-wart mother M’Lynn as they get ready for daughter Shelby’s wedding. Taylor Quick is also making her Stages debut as the vivacious Shelby, sparkling with personality.

The women gather at Truvy’s Beauty Spot, an in-home salon. Spunky Jilanne Marie Klaus scampers around as the busy business owner, dispensing homespun wisdom with a side of sass zhuzhing their hair.

Playing off each other like one would expect the grand dames of St. Louis theater to achieve with their snappy banter and impeccable timing, Kari Ely is the elegant and affluent widow Clairee who loves to gossip and Zoe Vonder Haar is the crotchety and very wealthy Ouiser who loves to annoy.

Sparks fly as the two trade barbs and speak their minds. Ely is marking 30 seasons with this company and Vonder Haar has been in 75 shows there.

Ouiser is such a crowd favorite that the audience erupted into applause when Zoe made her blustery entrance. She brought the house down uttering the famous line: “I’m not crazy, I’ve just been in a bad mood for 40 years.”

The character with the most growth is Annelle, hired as Truvy’s assistant. As played by Abigail Isom, she’s timid, but a people-pleaser, with enough problems to fill the lyrics of a country song. After dipping back into the dating pool, she becomes a Bible-thumper, which perplexes some of the ladies.

Photo by Phillip Hamer

Harling grew up in Natchitoches but set the play in the fictional northwest Louisiana parish of Chinquapin. He’s filled the conversations with colloquial references, mentioning the local football games, festivals, beauty pageants, and special occasions that give a place its color.

Those distinctive cadences make the show appealing, smoothly delivered and tugging at our emotions.

While the women cope with life’s rhythms, Shelby’s health deteriorates after a risky pregnancy doctors warned her about, and that stubborn streak puts her at odds with her concerned mother.

In real life, Harling’s sister gave birth to his namesake nephew and when a kidney transplant failed, it led to her body wearing out.

Director Paige Price’s care in honoring these delightful women is notable. She smartly moves the show along in a well-appointed space, with an outstanding scenic design from Kate Rance. They’ve both captured an authentic glimpse of Southern living in the ‘80s.

Taylor Quick as Shelby. Photo by Phillip Hamer.

Shelby’s signature color pink is highlighted in not only her fetching wardrobe but inside the inviting beauty shop too.

Costume designer Brad Musgrove has created an attractive array of looks befitting the characters’ ages and economic status. He selected a pleasing color palette to make the characters come alive.

A big component to the characters’ looks is the wig and hair designs by Daniel Paller, and he managed to create remarkably realistic hairstyles for each character.

Dialect coach Pam Reckamp’s work is especially noteworthy, considering all six’s Southern drawls are maintained without dropping throughout the two acts.

Lighting designer Sean M. Savoie’s customary excellence is on display, after 10 years of memorable work at Stages. The crisp sound design by two-time Tony winner Nevin Steinberg includes a mix of Shelby’s favorite songs playing on the radio. The local DJ is voiced with authority by unseen Kurt Deutsch.

Jilanne Marie Klaus as Truvy and Amy Loui as M’Lynn. Photo by Phillip Hamer.

There isn’t a false note conveying his family’s personal tragedy as Harling adroitly combined heartache with humor. The one-liners zing and the tears are earned.

Because of its believability, “Steel Magnolias” holds a special place in people’s hearts. Anyone undergoing grief and loss can relate. And the women’s strength is to be admired, even when they’re tossing off quips.

Sentimental without being sappy and sincere without being maudlin, “Steel Magnolias” demonstrates the enriching aspect of female friendships. And we’re the lucky ones to be reminded how very special the people in our orbit can be.

This production is a chef’s kiss. And don’t forget your tissues.

Stages St. Louis presents “Steel Magnolias” May 31 through June 30 at the Kirkwood Performing Arts Center in Kirkwood. For more information, visit www.stagesstlouis.org.

Photo by Phillip Hamer

Comical Family Dynamics Mark New Jewish’s Heartfelt ‘We All Fall Down’

Comical Family Dynamics Mark New Jewish’s Heartfelt ‘We All Fall Down’

By Lynn Venhaus

Whether you have a family that always puts the ‘fun’ in dysfunctional or is going through a temporary rough patch, you will find something relatable in Lila Rose Kaplan’s crowd-pleasing comedy-drama “We All Fall Down.”

Nowhere is an extended family’s quirkiness more apparent that at a holiday gathering, and this setting is a Passover seder with the Jewish but non-practicing Steins coming together.
 
The territory navigated is both familiar and foreign. When the playwright’s wit, director Rebekah Scallet’s finesse, and the cast’s crisp comic timing percolate on all cylinders, it’s splendid.

Yet, there is a busyness that comes across as somewhat annoying. The seven characters are all pre-occupied, with the parents and two grown adult children overstuffed with personality peculiarities, and the three guests underdeveloped. Perhaps some trimming would have made it feel less congested.

While the resolution is heartfelt, it doesn’t feel as genuine or as earned as it could be, for the relationships are complicated, and the revelations feel rushed.

As we all know, often when people try too hard to make a celebration joyful, it fails to meet expectations because of uncooperative moving parts.

Add befuddlement as to why this festival is happening now when it’s never been a big deal, which adds a layer – and everyone is in various degrees of a tizzy.

While psychologist and family therapist mom Linda (Mindy Shaw), history professor dad (Alan Knoll), yoga instructor daughter Ariel (Hailey Medrano), feminist activist-educator daughter Sammi (Bridgette Bassa), sarcastic aunt Nan (Jenni Ryan), a sweet but sensitive friend Bev (Bethany Barr) and an efficient assistant Ester (Taijha Silas) are preparing for this specific meal with their own ‘to-do’ lists, wackiness ensues, and universal truths give way.

Mindy Shaw, Hailey Medrano. Photo by Jon GItchoff.

In Judaism, Passover commemorates the Hebrews’ liberation from slavery in Egypt, sparing the first-born of the Israelites on the eve of the Exodus. There are specific rituals handed down through generations, and Kaplan deftly explains traditions to those of us not in the know.

Those of other faiths can identify with their own heritage’s touchstones while the evergreen themes of people growing older, and children growing up strike chords.

The ensemble meshes well, conveying all the stress, resentments and aggravations that a holiday represents, but also their unique family dynamic and relationships. As in real life, a delicate balance between mothers, fathers, daughters and sisters is always shifting.

Sunrise, sunset
Swiftly fly the years
One season following another
Laden with happiness and tears

Knoll, whose performances are always lived in and first-rate, has shaded Saul with convincing layers, coming across at first as good-natured but concealing a troubled soul.

His memory is fading, and he’s confused, disconnected, and not understanding what’s happening, although he’s trying to cling tight to his routines.

His patterns are being interrupted by all the hubbub, and glimpses of what’s happening begin to be noticed by the others when they start paying attention. Most everyone is in their own little bubble and must eventually find the compassion they need at this moment. Frustrated, he won’t admit or can’t come to terms with his cognitive decline.

Alan Knoll, Bridgette Bassa, with Jenni Ryan in background. Photo by Jon Gitchoff.

Those who’ve witnessed a loved one lose parts of themselves through Alzheimer’s disease or other forms of dementia can recognize the symptoms that Kaplan astutely presents.

A flustered, frantic melodramatic wife and mother, Linda is played as a demanding perfectionist with nervous energy by the lissome and facile Mindy Shaw.  

This bossy control freak and bestselling author has a hidden agenda that keeps everyone guessing as to why she’s going to all this trouble. She’s a little kooky dressing up in costumes and flitting about.

Her two daughters, with secrets of their own, are focused on their problems and not why their dad may have retired early, why he’s drinking so much, or why mom’s making the signature dishes for what an old neighbor describes as “Jewish Easter.”

As adult daughters, Bassa and Medrano affect a realistic sibling rivalry and dissatisfaction with their current paths. Intelligent and limber performers, Bassa and Medrano bounce off each other like women with a history, and their rhythm is naturalistic.

There is an undercurrent of tension that may be connected to their mother’s book “Mothering Difficult Children”,” which is a hoot.” (What a great title!).

Ryan plays Saul’s outspoken sister, Aunt Nan, a part that seems straight out of sitcom land, as does Barr’s Bev, an empty nester who once lived across the street.

Silas has a nice turn as Linda’s graduate assistant who is tasked with singing “The Four Questions,” and does so beautifully.

Taijha Silas as Ester. Photo by Jon Gitchoff.

The two-story suburban home setting designed by Andrea Ball is a marvel of functionality and comfort. The kitchen is stocked with all the necessary ingredients and tools to make Kugel and matzo balls, and the girls’ childhood bedroom becomes an oasis (as does a bathroom).

The technical design work is as admirable as ever, with Michael Sullivan’s lighting design and Michelle Friedman Siler’s costume design both stellar components. Cecille “Cece” Entz’ prop work is noteworthy — an appealing mix of years of clutter.

Ellie Schwetye’s sound design is always significant, and this time her mix tape choices are interesting — especially the specific “War of 1812 Overture” that’s in the script.

Kaplan crafted this play with heart. Originally produced in 2020 in Boston, this presentation is the regional premiere in St. Louis. She has a flair for tackling issues from a woman’s point of view, which is refreshing. However, the tone shifts several times, which happens when the material is both a comedy and a drama.

Scallet, also the artistic director, has helmed this show in a light-hearted way, even though the theme is heavy – parents must be taken care of even when you can’t take care of yourself

She and the playwright met years ago when Scallet was directing Kaplan’s play “Catching Flight,” which was part of a new play development program, and became friends.

The main takeaway is that traditions should be appreciated and familial love is the foundation of life. Whatever our families are going through, we can lean on each other for comfort and strength. All families deal with loss, lose their way, and re-emerge with new customs, yet never forgetting those who have passed.

Memories are made, and passed on through generations — simple yet profound.

Alan Knoll, Jenni Ryan. Photo by Jon Gitchoff.

The New Jewish Theatre presents “We All Fall Down” from May 30 to June 16 at the JCCA’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis. The play is 95 minutes without an intermission. Performances are Thursdays at 7:30 p.m., Saturdays at 4 and 8.p.m., and Sundays at 2 p.m. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

Special Note: Scallet will host two additional talkbacks with show audiences on Saturday, June 14 following the 4 p.m. performance, and on Thursday, June 6, following the 7:30 p.m. performance.

Photo by Jon Gitchoff.