Virtuoso Performances Give Albion Theatre’s Twisty ‘The Wasp’ Bite

Virtuoso Performances Give Albion Theatre’s Twisty ‘The Wasp’ Bite

By Lynn Venhaus

Albion Theatre’s masterful interpretation of Morgan Lloyd Malcolm’s “The Wasp,” a contemporary twisty and twisted psychological thriller, leaves the gasping audience deeply unsettled and finally able to breathe after a dramatic 90-minute rollercoaster.

Because of its many layers of secrets, lies and manipulation, Robert Ashton has directed this dark two-hander by carefully building suspense and never allowing the actors to get ahead of the material. The element of surprise is always present as Heather (Ricki Franklin) and Carla (Macia Noorman) awkwardly engage in three tense-filled scenes.

Shades of high-stakes Hitchcock abound, as conversations include tea and revelations between the two former classmates, 20 years after they’ve seen each other. At first, one assumes this uneasy encounter is because there has been no contact during these ‘grown-up’ years, and the obvious class distinctions.

But it goes so much deeper than an affluent Heather approaching blue-collar Carla, pregnant with her fifth child, with a shocking request. Malcolm’s intense and intimate 2015 play becomes an exploration of female friendships and childhood trauma.

Malcolm cleverly weaves female-centric issues with occasional humor, easily establishing characters’ personalities and motivations – but maybe our perceptions aren’t as clear-cut. Hmmm… the plot thickens.

As disturbing facts are disclosed, and a proposition gets more complicated, the chemistry between the two characters is crucial. Franklin and Noorman, both making their Albion debuts, haven’t worked together before, but that isn’t apparent in their assured portrayals and compelling interactions.

They both are riveting, expertly showing vulnerability and strength, hurt and fear, rage and worry, cruelty and mercy. At times, you can see their old schoolgirl selves re-appear in their adult shadows. With a hint of where this is going, an overwhelming feeling of dread escalates — and some surprises are still ahead.

Macia Noorman as Carla and Ricki Franklin as Heather in “The Wasp.” Photo by John Lamb.

Franklin’s refined Heather seems to have the upper hand, and appearances indicate she has a thriving career and ‘married well,’ but divulges that she is miserable in the union, ticking off her husband’s alleged infidelities and despicable qualities. Franklin, two-time St. Louis Theater Circle Award winner as supporting actress in Shakespeare comedies, has an opportunity to show her dramatic chops here.

Noorman’s streetwise Carla, obviously wary but much more complex than a stereotype, has had a rougher life, struggling financially but seemingly happy as a mother, if not as a wife. Heather is childless. Noorman, a St. Louis Theater Circle Award nominee in 2019, shows an impressive range in this challenging role.

Although narrative twists have been exposed throughout the years (the play’s been around for 11 years, but this is the St. Louis premiere), I hesitate to mention too many details in case someone unfamiliar with this show would ever see it. Let’s just say your allegiance may shift as more comes to light, as we attempt to determine who you can trust or believe. Who are you feeling sorry for as grisly details emerge?

Were they once friends, enemies or frenemies? Can you ever forgive childhood slights and mean-girl behavior, and what about unreliable memories?

The play gives off the same cunning vibes as “Sleuth,” Anthony Shaffer’s brilliant 1970 cat-and-mouse mystery that featured class warfare and toxic masculinity, but Malcolm’s modern work is distinctively feminine.

Ashton astutely sets each exchange through scenic designer Rob Lippert’s well-appointed set in the intimate black box theatre. From a small coffee shop to Heather’s posh home, Lippert’s keen eye has created a vivid world, complete with a well-manicured backyard glimpsed through a glass door.

Lighting designer Kara Grimm-Denholm added to the classy atmosphere, and Tracy Newcomb’s costume designs effectively established the socio-economic status of each woman.

Ricki Franklin and Macia Noorman in a twisted cat-and-mouse game. Photo by John Lamb.

A sly reference to the titular stinger is included in Heather’s husband Simon’s framed collection of insect prints. The description is creepy, and when told, you may have an inkling of what’s ahead, but really, the script is so well-crafted and the actresses so intuitive, they keep us guessing. As both dig into a past that is far messier than first hinted at, it’s gripping and perturbing – get ready for stomach knots.

As is customary in Albion productions, the dialect is crisp and neither Franklin’s educated Brit nor Noorman’s cockney accents ever drop. Thanks to sound designer Leonard Marshell, Ashton’s tutelage and the actors’ efforts, understanding is not a problem.

Noteworthy contributions include Mo Moellering as fight choreographer, C. J. Langdon as assistant director, Rachel Klinck as board operator, Susan Wylie as stage manager and Denise Mandle as assistant stage manager, for the scene transitions are smooth and the anxious mood is never broken.

Perhaps some of the situations are contrived, but the performers are totally committed to making these characters believable and are convincing as they dredge up the distressing backstories of childhood bullying and harsh conditions.

The relationship, never solid, eventually fractures in unexpected ways. Do they go there? The performers dug deep, re-opening their characters’ wounds and showing their emotional depth in intricate, disquieting monologues.

Franklin and Noorman’s honest dynamic is key to immersing oneself in this chilling experience. Do childhood scars ever heal, and what does that say about the cyclical nature of violence? Oh, those blurred lines of life are the reason “The Wasp” has such staying power – and you’ll remember the sting.

Albion Theatre presented “The Wasp” from June 12 to 28 at the Kranzberg Black Box Theatre. This production was reviewed on June 28. The play has mature themes and adult language and runs 90 minutes without an intermission. For more information, visit www.albiontheatre.org

R-S Theatrics’ Stunning ‘The Light in the Piazza’ Glows

R-S Theatrics’ Stunning ‘The Light in the Piazza’ Glows

By Lynn Venhaus
Managing Editor
With its lush, unusual score and seductive setting, “The Light in the Piazza” is swoon-worthy in many aspects.
Regarded as demanding to present because of its music and dramatic complexities, this intricate musical heightens realism and challenges the most confident vocalist.
Its Tony-winning neoromantic score and orchestrations by Adam Guettel, grandson of icon Richard Rodgers, have more in common with opera and classical music than traditional showtunes, without any pop references.
Nevertheless, the cast of R-S Theatrics’ production rises to master the harmonies and embrace la dolce vita. Guided by music director Sarah Nelson, whose work is exceptional, with assured stage direction from Christine Rios, they project a confident grasp of the material.

Some of the lyrics are in Italian, and silky-smooth voiced Tielere Cheatem, as Fabrizio, is impressive, particularly in his fluid renditions of “Il Mondo Era Vuoto” and “Passeggiata.” His family, the Naccarellis, speak impeccable Italian and deliver richly textured vocals – Kent Coffel as Signor, Jodi Stockton as Signora, Stephanie Merritt as Franca and Micheal Lowe as Giuseppe.
Special mention must go to Italian language coach Myriam Columbo, for it feels organic.
It’s the summer of 1953, and the well-to-do Southern matron Margaret (Kay Love) returns to Florence, Italy, where she spent her honeymoon. With her innocent 26-year-old daughter in tow, her joy is tempered by the special needs of the developmentally delayed Clara (Macia Noorman), who was hit in the head by a Shetland pony at age 10. She matured physically but not emotionally/mentally. It is more subtle than obvious, but when Clara gets upset, she behaves like a petulant child.
The melodramatic story is adapted from a novella by Elizabeth Spencer, which became a turgid 1962 movie starring Olivia de Havilland, Rossano Brazzi, Yvette Mimieux and George Hamilton (?!? as Fabrizio). The 2005 Broadway show was nominated for 11 Tony Awards and won five. It had both fans and detractors, and I was one of its sharpest critics, particularly of the book by Craig Lucas.
Not a fan of the 2007 touring production, which was swallowed in the Fox, was devoid of sympathy for the mother and did not have an ounce of nuance in what I considered a duplicitous transaction.
Not so here – surprise! – because of the performances and the interpretation, although they can’t help that the book has some issues.
Several key elements soothed my misgivings, but mainly it was because of Kay Love’s splendid performance as the Southern matron Margaret, which is the lynchpin to the whole show.
Love earns our sympathy right away – it is a virtuoso performance that highlights her outstanding vocal talent while giving her a juicy role in which to shine. You feel her dilemma, and the emotional rollercoaster she endures. Her North Carolina accent is refreshingly soft and does not overpower her character,  thanks to dialect coach Mark Kelley.
All that guilt Margaret carries is shown on Love’s face, along with the regrets of a lackluster marriage, and a life, though comfortable, spent in service to others. She’s exasperated keeping tabs on an excited Clara, who encounters a young Florentine, Fabrizio. It’s love at first sight for both.
As Clara, Macia Noorman’s accent weaves in and out. Noorman and Cheatem work well together, but she seems more tentative in the duets and went sharp or flat more often in her vocals, particularly when paired with someone. However, her “Clara’s Interlude” is quite lovely.
Rios does not make this entanglement of two star-crossed families overwrought, rather keeps focus on the complicated romance and culture clash. As Margaret wrestles with the couple’s wedding plans, she must decide if she believes in love and her daughter’s happiness. Her husband Roy (Robert Doyle) is of no help, or empathy.
In addition to their superb vocals, the actors playing the Naccarelli family stand out. Kent Coffel plays the haberdasher father with such authority that you believe he is a Florentine of stature while a winsome Jodi Stockton has a nice motherly moment explaining the proceedings to the audience.
Stephanie Merritt gives considerable oomph to the tempestuous Franca so that she is not just a caricature, and soars in her number, “The Joy You Feel.”
While Love imbues her numbers with emotion, her rendition of the finale “Fable” is stunning, all the more remarkable because it follows a fabulous “Love to Me” sung by Cheatem. Love has a sweet duet with Coffel, “Let’s Walk,” before two families join together.
The power of the cast’s voices match the character demands, and Nelson’s musical work must be recognized, for the level of difficulty is understood.
The expressive orchestra adds so much, with Terri Langerak playing a glorious harp, Emily Lane on cello, Kelly LaRussa on violin, Jacob Stergos on bass and Nelson on piano. Their expert skill provided a luxurious sound that elevated this show.
The location also prominently figures into the presentation. Florence is an alluring city of Renaissance masterpieces in the Tuscany region of Italy, with its postcard Mediterranean landscapes, ancient history, and extraordinary art, culture and cuisine. It’s also a character.
The look and feel of this show combines tantalizing adventure with a traveler’s awestruck sense of wonder, providing atmosphere along with sense of time and place.
The piazza, a town square, is where we meet a very tight ensemble, crisp in purposeful movements and welcoming in demeanor. Chris Kernan, Jason Meyers, Louisa Wimmer, Robert Doyle, Melissa Christine, Lindy Elliot, Ann Hier and Anthony Randle are a compelling chorus.
Keller Ryan’s scenic design allows for this tableau to come alive with a captivating vibrancy while Nathan Schroeder’s lighting design provides a burnished glow.
They all look marvelous, too — chic fashion choices by costume designer by Ashley Bauman enhanced the characters’ personalities.
Margaret can’t help but be swept away by the scenic views and the teeming crowd, and neither could I. The intimate staging, the strong creative aspects and the level of talent add up to a must-see production.
R-S Theatrics opens its eighth season – The Season of the Not-so-Perfect Past — with the St. Louis premiere of “The Light in the Piazza” Aug. 10 – 26, Friday and Saturday at 8 p.m. and Sunday at 7 p.m., at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, 63103. Tickets can be purchased through Metrotix.com. For more information, visit r-stheatrics.org.