Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

By CB Adams

Timing, as they say, is everything. And Winter Opera’s sprightly production of Gilbert and Sullivan’s “H.M.S. Pinafore” succeeds thanks to all sorts of good timing.

First, Winter Opera’s timing was perfect – after the intensity of the recent elections – for anyone in need of a good laugh combined with catchy, rhythmic melodies. Yet, it was more than merely a distraction from the news cycles. It was an engaging and fulfilling experience starting from the first notes of the overture.

“Pinafore,” which debuted in 1878, endures because it offers both entertainment and a clever commentary on British social class and the workings of the naval hierarchy – a commentary that is relevant and nearly universal. The combined talents of conductor Scott Schoonover and director John Stephens delivered fresh vitality to “Pinafore.”

That’s a double dip of timing to Sullivan’s lively score and Gilbert’s witty lyrics – delivered with panache. Schoonover in particular captained this production’s consistent buoyancy, bright tempos and lively orchestrations.

Stephens injected contemporary energy into the operetta’s classic routines and underscored how bureaucratic absurdities and class distinctions are still relevant today.

Photo by ProPhotoSTL.

This production’s success relied on performances that combined vocal robustness with affection and irony. Brittany Hebel, as Josephine, and Brian Skoog, as Ralph, gave particularly charming performances, delivering their roles with vocal clarity and comic finesse. Hebel’s expressive soprano made Josephine’s role memorable with her strong top notes and flexibility – essential traits for Gilbert and Sullivan heroines.

Skoog’s warm tenor and cheery portrayal of Ralph added depth to their onstage romance. Jacob Lassetter’s Captain Corcoran was dignified and fatherly, effectively balancing authority with warmth. Gary Moss, playing Sir Joseph Porter, embodied the absurdity of his character with flair, delightfully showcasing Sir Joseph’s inflated self-importance as a government figure who commands the Royal Navy despite never having set foot on a ship.

More good “timing” was casting Emily Harmon in the role of Little Buttercup. She delivered playful mischief to the character, particularly in her duet “Things Are Seldom what They Seem” – a standout from the entire performance. Another was Tyler Putnam’s portrayal of the cynical seaman, Dick Deadeye. Putnam was immensely entertaining, vocally hearty, and ably added a touch of gritty realism to the otherwise farcical narrative.

Scenic designer Scott Loebl created a straightforward – and perfectly sized – quarterdeck set that captured the essence of a Victorian ship, allowing the performers’ comedic interactions to shine. Costume designer Jen Blum-Tatara and lighting designer Michael Sullivan enhanced the production’s ambiance, with era-appropriate attire and crisp lighting that brought out the unique personalities of each character.

Photo by PhotoProSTL.

Especially noteworthy were the performances of the ensemble songs that bookend the operetta: “We Sail the Ocean Blue” and “Oh Joy, Oh Rapture Unforeseen.” The first featured the chorus of sailors in a performance with definite “Anything Goes” vibes. The latter was a triumphant and celebratory rendition in which a stage full of characters happily rejoice in the resolution to the operetta’s romantic entanglements and class conflicts.

The combination of skilled musicianship, clever staging and talented vocal performances made this rendition of “H.M.S. Pinafore” a humorous, musically satisfying experience that exemplified why this operetta endures – time and again.

Winter Opera’s production of “H.M.S. Pinafore” ran November 8 and 10, 2024 at the Kirkwood Performing Arts Center.

Photo by PhotoProSTL.

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.

Heart-Tugging Portrayals in NJT’s Awe-Inspiring ‘The Immigrant’

Heart-Tugging Portrayals in NJT’s Awe-Inspiring ‘The Immigrant’

By Lynn Venhaus
When Haskell Harelik, born Chatzkell Garehlik in Belarus, first steps off the boat in the port of Galveston, Texas, in 1909, actor Dustin Lane Petrillo beams with both joy and wonder.

That sense of liberty, breathing free on our teeming American shore, is palpable, and brings to mind how many other journeys of generations we know about, making “The Immigrant” a universal story that couldn’t be timelier.

This one is specific to Texas following the Russian Revolution. Pograms during those events spurred Haskell to emigrate as part of the Galveston Movement, as one of about 10,000 Eastern European Jews who arrived there 1907-14, arranged by a businessman to alleviate the overcrowding and poor living conditions on the lower east side of New York City.

This fresh New Jewish Theatre production, for the third time in its 25-year history, offers a warm, intimate connection that says as much about our common ground as humans as it does about hope and dreams.

Perceptively directed by Rebekah Scallet, this moving true story is awe-inspiring in its simplicity and eloquence, heart-tugging in its splendid character portrayals by an outstanding quartet, and masterly in its technical achievements.

Playwright Mark Harelik’s richly textured family drama, first produced in 1985, has an absorbing ebb and flow over eight decades, but mainly concentrates on his tempest-tossed grandfather’s early struggles to survive in a foreign land and then eventually succeed in living his American Dream.

Petrillo’s exceptional range as Haskell – and exemplary command of Yiddish — is first shown as a poor, tired, and parched peddler, selling bananas for a penny apiece when he nearly collapses from the heat in front of the Perry’s home in Hamilton, Texas. Wary of the stranger, banker Milton Perry lets him get water from their well, while his tender-hearted wife Ima wants to offer more help to the lost soul in their midst, and their paths will cross again.

David Wassilak, Dustin Lane Petrillo. Photo by Jon Gitchoff.

As the Perrys, David Wassilak and Mindy Shaw mirror the mindsets of the day, suspicious and fearful of “the other,” but are won over by Haskell’s charm and work ethic. When Milton sees Haskell’s papers and discovers he’s a Russian Jew, his prejudice flares up, but the young man is so earnest, he wins over the locals.

Because of Milton’s position, he’s willing to help set up Haskell in a more stable enterprise – a horse-drawn fruit and vegetable cart. That leads to a store in downtown Hamilton that lasted 78 years, until it closed in 1989.

Being a practicing Jew in a primarily Christian enclave, with many Southern Baptists, takes some adjustment, especially for Haskell’s wife Leah, who reunites here with reluctance. Bryn McLaughlin conveys her challenges as she desperately misses her community, but eventually assimilates to a good life as thriving, trustworthy merchants. They raise three boys, with the Perrys being a major part of their lives.

Wassilak and Shaw deliver finely tuned performances, with subtle rural central Texas accents, and together, in sync like an old married couple through the years, for full-bodied realism. Their chemistry is matched by Petrillo and McLaughlin so that you truly feel the couple’s bonds.

Bryn McLaughlin, Dustin Lane Petrillo. Photo by Jon Gitchoff.

Differences about the growing European storm with Hitler in Germany and the reluctance of the U.S. to get involved in 1939 will cause friction between Milton and Haskell. There may be some artistic license, but it’s a wonderful story well-told. The minutia of daily living is superbly captured, all those little things that add up to making a life, no matter what era or what region. (I particularly enjoyed references to rabbit’s foot keychains, anklets and first time seeing an artichoke).

The creative team’s skills are first-rate, with stellar work from Kareem Deanes on sound –organically integrated with birds chirping, and retro background music – as well as his projections design. Each side of the theater has a screen where the audience can view information on Haskell’s journey and portraits of the Harelik family through the years that adds real sentimental moments to this deeply felt tale.

Scenic designer Rob Lippert’s meticulously detailed work on two home facades and landcaped trees and greenery creates a terrific setting to tell this story, placing the audience on each side for seamless action.

Stage Manager Nathan Wright, and Assistant Stage Manager Journee Carter keep the staging crisp and fluid.

Lighting designer Michael Sullivan’s warm illumination creates the feeling of home for both families.

Costume designer Michele Friedman Siler has astutely outfitted the women in changing skirt lengths and vintage styles while dressing the men in their appropriate professional attire, Haskell changing in stature through the years.

The play, co-conceived by Harelik, a professional actor, and Randal Myler, a writer, director, and producer, resonates beautifully with today’s audience.

New Jewish produced this play before, in 1999 and 2011, before I became part of the St. Louis Theater Circle as a founding member in 2012. This was a wise choice to mount it again.

Mindy Shaw, Dustin Lane Petrillo. Photo by Jon Gitchoff

This is Scallet’s directorial debut, and it’s impressive. She is in her second season as artistic director of New Jewish, having moved here in 2020.

The dialect coaching by John Wright deserves mention, and so does the aesthetically pleasing natural wig designs by Dennis Milam Bensie.

“The Immigrant” is a compassionate example of shining our lamps on the golden door for those yearning for better lives. Indirectly, it also is infused with an urgency to not be passive about the current state of turmoil in the world.

The fact that local groups are hosting information sessions on how to help refugees in the Israel-HAMAS War during this play’s run, creates even more meaning. For more information, visit https://jccstl.com/resources-on-the-israel-hamas-war/.

“Give me your tired, your poor, your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door!” – bronze plaque on The Statue of Liberty, 1883

David Wassilak, Dustin Petrillo. Photo by Jon Gitchoff.


The New Jewish Theatre presents “The Immigrant” Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m. and Sundays at 2 p.m. Oct. 12 through Oct. 29. Performances take place at the Wool Studio Theatre in the SFC Performing Arts Center, 2 Millstone Campus Drive. The two-act play runs 2 hours, 21 minutes, and has a 15-minute intermission. For more information: newjewishtheatre.org or call 314-442-3283.

The New Jewish Theatre has coordinated with multiple local organizations who help immigrants to plan outreach events at or in coordination with this production to bring awareness to current issues facing immigrants and refugees in St. Louis. They include:

  • A “needed item” drive in collaboration with The International Institute will take place throughout the showings.
  • On October 21, following the 4 pm performance, there will be a discussion panel featuring members of the Central Reform Congregation Resettlement Chavurah.
  • On October 22, following the 2 pm performance, there will be a discussion featuring members of the Shaare Emeth Congregation Resettlement Group.
  • Finally, a Welcome Neighbor dinner will take place at the J between the 4pm and 8pm performances on October 28.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE presents the Seventh Annual Aphra Behn Festival, May 5-7, 2023, at Fontbonne University. Performances are at 8:00 PM on Friday, May 5 and Saturday, May 6. Performance on Sunday, May 7 at 4:00 PM.

When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.

The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, Or, by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, The Rover, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. The Rover was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy.

This year’s list of ingredients for plays to be submitted in the 2023 Festival challenged the writers to re-tell, adapt, or respond to one of the plays on Hedgepig Theatre Ensemble’s Expand the Canon list (www.expandthecanon.com) SATE hosted readings of all three “Re-Told” plays on February 19, March 19, and April 30.

2023 Festival Plays

Bold Stroke for a Villain by Summer Baer
Directed by Emma Glose
Inspired by Hannah Cowley’s Bold Stroke for a Husband
Performed by Gabrielle Lynn, Jaelyn Hawkins, Greta Johnson
Welcome to purgatory! Victoria, condemned to an eternity of reflection, attempts to call into the void to someone she wronged but gets Elle Woulds instead.

Lieblingstante, by Aurora Behlke
Directed by Kayla Ailee Bush
Based off The Uncle by Princess Amalie of Saxony
Performed by Maida Dippel, Michael Pierce, and Leslie Wobbe
Julius introduces his girlfriend to his aunt Claudia. Who knows where the conversation may go after one or two (or four) glasses of wine.

reANIMA by Aly Kantor
Directed by Britney N. Daniels
A speculative subversion of Amelia Rosselli’s Anima
Performed by Keating and Taylor Kelly
Cricket totaled her meat vessel at a party—but not to worry! Her best friend has an industry hookup and made her a brand new one with all the bells and whistles she could ever want (and a few she’s slightly reluctant about). Now everything can get back to normal…right?

PRODUCTION ENSEMBLE
Stage Manager: Spencer Lawton
Costume Design: Liz Henning
Lighting Design: Michael Sullivan
Graphic Design: Dottie Quick
Photography: Joel Rumpell
Set/Props Design: Rachel Tibbetts, Ellie Schwetye
Sound Design: Emma Glose, Ellie Schwetye
Intimacy Coordinator: Rachel Tibbetts

Winter Opera Brews Up a Bewitching ‘Macbeth’

Winter Opera Brews Up a Bewitching ‘Macbeth’

By CB Adams

In his recent review in New York magazine of the Metropolitan Opera’s production of “Fedora,” Justin Davidson snarked, “’Fedora is an opera about décor.” The headline read, “At Least the Sofa Looks Fabulous.” That’s the kind of pronouncement relished by critics and reviewers, myself included (I do love a good snark, when well-deserved.)

In a backdoor sort of way, Davidson’s sentiment evoked an opposite reaction when assessing Winter Opera’s production of Giuseppe Verdi’s “Macbeth” at the Kirkwood Community Center. One of the major strengths of this production, stage directed by John Stephens, is precisely due to the minimal “décor” and sets. This approach, which was definitely not stagy nonchalance, enabled the production to focus on the essential moments in Shakespeare’s tale of power and corruption, Verdi’s score and the performances of the fine cast. The storyline is the thing, and the result was a solidly satisfying experience that served as a potent post-holiday palate cleanser – we all need a little opera, not a little more Christmas.

Calling the setting simple is not to belittle the work of scenic designer Scott Loebl. It’s to  his credit, as well as lighting designer Michael Sullivan’s and technical director Jacob Cange’s, that the mood is so effectively set with appeared at times as a wall of blood, emphasizing the Macbeths’ descent into depravity. The cast members moved through the playing area as though a walk upon Shakespeare’s atmospheric heath.

Photo by Rebecca Haas

One of the risks of production of “Macbeth” in either its theatrical or opera forms, is overplaying the witchiness of the witches. This is not “Wicked” after all. Verdi makes this risk higher turning the play’s three witches into a chorus of witches. But this production makes great, prudent use of this gaggly coven, which sometimes offers comic relief and other times stirring up their portentous predictions. One of the witches contorted her face so dramatically it seemed like an effect that could only be achieve with a mask. Jim Carrey would have been jealous.

The leading roles were performed with uniform excellence by singing actors, several of whom have been in previous Winter Opera productions. The Macbeths, sung by Michael Nansel and Whitney Myers were convincing both singly and as a couple. Myers’ performance as Lady Macbeth offered many insightful moments, marred only by her line “Out, damned spot” through no fault of her own. The line elicited more than few chuckles because its meaning has been ruined after being reduced to an American advertising slogan. Pity.

Nansel as Macbeth also jelled with Nathan Whitson as Banquo. Both used their big, expressive voices to reveal the thoughts and tribulations of their characters. Equally impressive was Jonathan Kaufman as Macduff, especially when confronting (shall I say, laying on) Macbeth.

As with the chorus of witches, the supporting cast was seamless performed and put effective use. The supporting cast included  Willard Moseley as Duncan, Damian Ziarko as Fleanzio, Angel Azzarra as a lady in waiting and Kevin Thomas Smith as Malcolm.

Verdi’s score received a well-balanced, thoughtful and atmospheric performance by the orchestra, directed by Edward Benyas. This was noticeable from the start, during the brooding, foreboding overture.

In the play, Lady Macbeth says, “What’s done cannot be undone.” In the case of Winter Opera’s “Macbeth,” what can’t be undone is a fine production of this Verdi-Shakespeare classic.

Winter Opera presented Verdi’s “Macbeth” on January 20 and 22, at the Kirkwood Performing Arts Center.

Photos by Rebecca Haas

Macbeth by Winter Opera. Photo by Rebecca Haas

Life is a Highway: ‘Leaving Iowa’ Leaves You Smiling Wistfully

Life is a Highway: ‘Leaving Iowa’ Leaves You Smiling Wistfully

By C.B. AdamsContributing WriterAct Inc.’s family-friendly production of Leaving Iowa, written by the multi-talented team of Tim Clue and Spike Morgan, feels like an adaptation of a personal essay. You know, the kind that appears around Father’s Day in the New York Times‘s Sunday Review with a title like, “Me and My Old Man.”

John Steinbeck took to the highways with his dog and ended up with a book called Travels With Charlie. Leaving Iowa, a memory play that weaves past and present, could just as well be titled Travels With My Dad — a mildly ironic title perhaps, given that the narrator of this play is carrying around his father’s memory and his burial ashes. 

Befitting its authors’ professional achievements as motivational speakers and improv/stand-up comedians, Leaving Iowa offers snappy, quick-paced and engaging dialogue that is well timed and sprinkled liberally with one-liners and other comedic accoutrements.

As an entertainment, it shares much with a good-quality sitcom in the vicinity of Home Improvement. It’s approach and themes are milder versions of those in A Christmas Story(movie or musical version), which was itself a softer version of humorist Jean Shepard’s novel In God We Trust: All Others Pay Cash.

Photo by John LambLeaving Iowa can feature as many as 27 performers by casting multiple character parts separately. Director Lori Renna nicely pared this production to just six by making use of the quick-changing talents of CeCe Day and John Emery.

Part of the fun of this production was anticipating whom Day and Emery would be playing the next time they emerged from the wings of the in-the-round stage at the Black Box Theater in Lindenwood’s J. Scheidegger Center for the Arts.The four other parts, played by John Reidy as Dad, Colleen Heneghan as Mom, Hunter Frederick as Don Browning and Amanda Brasher as Sis, also required the actors to portray their characters in the present and past. Hunter and Brasher delightfully transformed from young backseat nattering chatterboxes to their more mature but no less competitive adult counterparts. The play is projected through the lens of the son, Don Browning. Hunter’s likeable, identifiable and approachable portrayal of a son running the gamut of fond remembrances, regret and contrition hit his mark with ease every time.

Heneghan and Reidy as Mom and Dad respectively provided a solid base from which the rest of the play revolves. After all, doesn’t it seem like our parents never change? This was especially true as veteran actor Reidy play Dad both as a real live character as well as a tingle-inducing memory-ghost in some scenes.

As the actors bopped from scene to scene along the play’s extended time line, their efforts were well supported by the staging provided by Lori Potts, scene design by Tim Grumich, lighting design by Michael Sullivan , costume design by Jane Sullivan and sound design by Kaitlynn Ferris. To this team’s credit, all of these elements  were quietly woven into the play and provided just the right of effect to convey each scene. Sometimes, as in this case, not standing out is outstanding — and the right directorial choice.More than once, the family in Leaving Iowa piles into an imaginary car and hits a road that is sometimes metaphorical and sometimes actual. As the play ends, with Don finally finding an appropriate resting place for his father’s ashes, its resolution leaves the audience with a feeling both wistful, amused, satisfied, and…well, happy. You know that look a dog has with its head sticking out the window of a moving car, as if its smiling?Yeah, Leaving Iowa leaves you like that. 

Photo by John LambAct Inc. presents “Leaving Iowa” June 14 through June 22. Performances June 21-22 are Friday at 7:30 p.m. and Saturday at 2 p.m. in the Emerson Black Box Theatre at J. Scheidegger Cener for the Arts on the Lindenwood campus in St. Charles. For more information or tickets, visit www.actincstl.com

MST’s ‘Well’ Examines Mother-and-Daughter Dynamics with Charm and Humor

MST’s ‘Well’ Examines Mother-and-Daughter Dynamics with Charm and Humor

By Lynn Venhaus
Managing Editor
Unexpectedly charming and heartfelt, the experimental but relatable “Well”
breaks the fourth wall just enough to easily win over the audience.

In fact, the disarming play purported to be about health
and wellness is more like a fluid, thought-provoking conversation that pulls us
in – and a running internal monologue by the lead character, playwright Lisa
Kron, about family and neighbors, and in sickness and in health.

The keen Katy Keating is endearing as the exasperated Lisa,
whose ailing mother presses all her buttons and she turns into the perpetual
angsty and whiny 13-year-old she once was and has been desperately trying to
shed that old fragile skin ever since.

Lisa tries to convince us that her latest creation –
expanded as a change of pace from her one-woman shows – is “a multi-character
theatrical exploration of issues of health and illness both in the individual
and in the community.”

But really, the complicated mother-daughter relationship is
its foundation, with a side trip into their racially integrated neighborhood in
Lansing, Mich., which was spearheaded by her compassionate, liberal mother.

Mom Ann (Lori Adams) has the usual aches and pains
associated with aging, but she suffers from some sort of undiagnosed ailment
that appears to be like chronic fatigue syndrome or fibromyalgia. She is
convinced allergies keep her homebound and infirmed.

She’s made her recliner the point of operations. She perks
up watching ice skating and giving her daughter pearls of wisdom.

Mom, in her current state, seems like a kind senior citizen
whose days pass without much consequence. But every so often, she has a burst
of energy.

As played by Adams, Ann would have been quite a Mom force in the neighborhood back in the day – and we would have taken an instant shine to her. Here, we wish the frail Mom would get better so she could be productive. But she’s lovable in that earth mother kind of way.

If Lisa would get out of her own way, she’d be more confident and less tied to the past. But it’s fun to see childhood memories spring from her talented castmates. And that’s a whole other tangent. She’s searching for answers that she might never be satisfied with, ever. (If she’d only listen to Mom — and herself.)

Mom tries not to intrude but does indeed pull focus in their wonderfully lived-in middle-class Midwestern-appointed living room, deftly decorated by scenic designer Bess Moynihan and props master Laura Skroska — the rabbit tchotchke! The dainty appliqued afghan!

The pair work beautifully together and convey that longstanding complex mother and daughter relationship so well.

The entire ensemble is first-rate, with Leslie Wobbe, Carl Overly Jr., Robert Thibault and Alicia Reve Like effortlessly transitioning into different characters – severely allergic patients, old neighbors, and even themselves.

But the formidable anchor is Katy, whose sincerity and natural affability carry the show. We root for her and believe in her, despite her wrestling with personal torment. Katy, who is such an intuitive performer, can go through a gamut of emotions in a nano-second.

Director Deanna Jent knows how to extract nuanced work from her players, and she has adroitly staged this show for maximum effect.

We’re engaged by the material, yes, but we’re also captivated by the production elements.

Playwright Kron is an interesting writer, allowing herself
to be transparent in her works. No wonder she won two Tony Awards for the book
and lyrics to the musical “Fun Home.” In 2004, she wrote “Well,” which was
produced off-Broadway. Two years later, it was on Broadway.

Her clever style works well in Mustard Seed Theatre’s Blackbox theater, and the production team’s attention to detail is superb, with Michael Sullivan’s lighting design and Zoe Sullivan’s sound design enhancing the setting. Costumes by Jane Sullivan are appropriate to the story.

Witty and whimsical, serious and playful, “Well” is a
multi-layered discourse that is both fresh and familiar. And it hits close to
home because of its captivating cast.

Mustard Seed Theatre presents “Well” by Lisa Kron Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. March 1 – March 17 in the Fontbonne University Fine Arts Theatre. For more information, visit www.mustardseedtheatre.com.

Katy Keating, Carl Overly Jr. and Alicia Reve Like. Photo by Ann Auerbach.

MST’s Ambitious ‘Last Days of Judas Iscariot’ is Extraordinary

MST’s Ambitious ‘Last Days of Judas Iscariot’ is Extraordinary

By Lynn Venhaus
Managing Editor
Ah, Purgatory. It’s complicated. If our fate hung in the balance between a celestial playground and a worst-case scenario, how would we feel about sin and redemption?
Using Biblical passages, historical characters, street vernacular, imagined flashbacks and behavioral psychology, prodigious playwright Stephen Adly Guirgis tests our definitions of sin and grace in a bold and epic conundrum, “The Last Days of Judas Iscariot.”
Unusual, intense and penetrating — this ambitious Mustard Seed Theatre production is an extraordinary achievement for all involved. It’s tough, tender, edgy and above all, heartfelt.
In this sprawling and fiery opus, Guirgis explores a complex dynamic between Jesus and Judas that has confounded believers for centuries. We don’t know for certain, but Guirgis’ imagination is as limitless as it is meandering. He is a man bursting with ideas, concepts, philosophical musings and diatribes.
(And cursing. Lots o’ that among his nimble wordplay. Don’t bring the kids. Definitely for mature audiences).
Intimate in setting but big-picture brilliant in scope, the play is quite a winding – and witty — journey through time and space. So buckle up, the character clashes are riveting.
Guirgis, a 2015 Pulitzer Prize-winner for drama, for “Between Riverside and Crazy,” has given us so much to mull over that I felt as if I was cramming for a theology exam. Afterwards, I was exhilarated and emotionally spent. No test. (Or is it? Hmmm…).
But I also pondered how I would answer for my actions, decisions and interactions. I want to be more mindful, such is the effect of this play – it resonates spiritually and is rooted in reality. (Or maybe it’s the Catholic guilt rearing its ugly head. Never get away from it, no matter what age).
Assessing our lives is a natural by-product of this profound play. Oh, it’s alternately subtle, harsh, dark and funny — and more, throughout its nearly 3-hour runtime.
Because the drama’s heft is so daunting, director Adam Flores tackled the demands by shrewdly assembling a fearless cast, all up for the challenge.
His assistant director is Jacob Schmidt and Stage Manager Alycia Martin must have been a drill sergeant calling the show, for 27 characters come and go in a Purgatory courtroom.
Flores firmly moves the 13 actors as if he’s masterminding a chess tournament. It’s obviously a passion project, sparked by responding to the play in 2006, and arranging this leap of faith in the Fontbonne black box.
Previously, only Hot City Theatre staged it locally, and that was 12 years ago. The off-Broadway premiere at The Public in 2005 was directed by Philip Seymour Hoffman and starred Sam Rockwell as Judas, Eric Bogosian as Satan and John Ortiz as Jesus of Nazareth.
The enormous level of difficulty cannot be understated. Dramaturg Elisabeth Wurm had to make sense out of a rebel yell, full of faith and doubt, in a traditional court trial frame work. It’s thoughtful and has real depth.
Scenic designer Dunsi Dai has created a minimal set of angles and platforms, and a few symbolic nods, allowing us to visualize images suggested during the testimonies. Michael Sullivan’s lighting design enhances the post-modern atmosphere.
A defense attorney for Judas, indignant Cunningham (Courtney Bailey-Parker), argues that the disgraced disciple should not be damned for all time, that others are culpable in the greater scheme of things, while overzealous prosecutor El-Fayoumy (a dandy Carl Overly Jr.) thinks a special place in hell is just fine.
A jury will decide Judas’ fate, but not before a parade of high-profile witnesses take the stand while a cranky Judge (Chandler Spradling) presides, with a nervous bailiff (Chelsea Krenning) at his beck and bark.
Some folks are impatient, surly and obstinate about being called to testify. Just because they crossed over, doesn’t mean they shed their less appealing characteristics. Saints appear at random, offering afterlife tidbits and spouting humorous anecdotes.
Parker has a considerable amount of heavy lifting, and does not miss a beat in fervent commitment to her client. Overly is slick, cajoling and conniving.
At center is Judas, near catatonic and inconsolable. As Judas, Chris Ware projects both an innocence and a howling despair. Confused, hurt and angry, he is misinterpreted by others at every turn. He barely speaks, but when provoked, he lashes out defiantly. A sadness swells.
The leads are fierce, not intimidated by the show’s weight. While portraying multiple characters or different genders, supporting actors are integral to making it flow seamlessly. Everyone has a purpose, no matter how random it appears.
The smooth ebb and flow of the cast’s intersection is noteworthy, as each character builds upon the others — the cement between the bricks.
Performers must deliver dense dialogue, with passionate monologues tumbling out of them, emphasizing ranges of emotions coursing through their character.
The sorrow of Judas’ mother Henrietta (Carmen Garcia) opens the show. She’s in period garb. But the costumes from designer Andrea Robb bends periods, ranging from traditional to reimagined.
Later switching gears to become an angry Pontius Pilate, Garcia commands the stage with haughtiness and power, bristling at the suggestion he was to blame for Christ’s crucifixion.
The oh-so-smooth Eric Dean White brings the heat as Satan, aka Lu, oozing unctuousness and evil in his first scene. The next time, he’s a ranting megalomaniac, hurling insults, contemptuous of the process.
Those are blustery roles, meant to push buttons. Other performers shine in adrenalized vignettes, particularly the saints. Rae Davis is a delight as both Saint Monica and Simon, while FeliceSkye is laugh-out-loud funny as Saint Peter, and a character Gloria – and a hoot as Sigmund Freud.
Ariella Rovinsky presents a fresh take on Caiaphas and Mary Magdalene, while Rachel Tibbetts is a touch of Rose and a dash of Sophia in a “Golden Girls”-inspired depiction of Mother Teresa. She is also a relatable St. Thomas, stunned by his quick 180 at not being a stand-up guy when Jesus needed him.
Characters recount their beliefs and experiences, and the play becomes a multi-course meal of textures, temperatures and shared plates.
Guirgis, also an actor, appeared in Charlie Kaufman’s unwieldy film about how life works, “Synecdoche, New York,” and this piece is reminiscent in that it has much to digest, and at times, seems overwhelming. It is a long haul.
Stick with it, and you will be rewarded by two of the best moments near the end — intimate reflective exchanges that mimic a therapy session. Jesse Munoz, with a calm yet authoritative demeanor, conveys a compassionate, loving and forgiving Jesus. Graham Emmons is heartbreaking as Butch Honeywell, the jury foreman who breaks the news to a forlorn Judas. He’s compelled to pour out his remorse over self-destructive choices that haunt him forever, and Emmons – new to St. Louis stages this year – is mesmerizing.
Did we experience glimpses of heaven and hell through this erudite discourse? I think we did. Notions of what afterlife awaits us change during our lifetimes, but will forever remain an enigma, no matter how many years we’re here on earth. Simmering inferno or eternal serenity?
No questions are answered here, but plenty are raised — and that’s the point. But you’ll be thinking about the divine order of things for days. Theology students take entire semesters to explore the ideas that the playwright brings up. We had one evening.
But what a tapestry we are confronted with – through a lens of sinners and saints, friendship, free will, grief and destiny.
The New Testament version of Jesus’ final days has been interpreted different ways in popular entertainment, with Andrew Lloyd Webber and Tim Rice’s 47-year-old rock opera musical ‘Jesus Christ Superstar” now a blank canvas and Martin Scorsese’s controversial film “The Last Temptation of Christ,” just to name a few. This one’s more under the radar, but a wild ride nonetheless, and worthy of attention.
MST’s earnest, fiery effort will remain one of the year’s most impressive presentations – in its execution, creative dedication and the breadth of its sheer humanity. Your reaction might not be immediate, but this one lingers.
Mustard Seed Theatre presents “The Last Days of Judas Iscariot” from Oct. 10 – 28, Wednesday, Thursday and Saturday at 8 p.m., Sunday at 2 p.m., but no Friday, at the Fontbonne University Fine Arts Theatre, 6800 Wydown Blvd. For more information, visit: www.mustardseedtheatre.com
Ann K Photography
Eric Dean White as Satan and Chris Ware as Judas.

‘My Yiddishe Mama’ and Me: ‘Raging Skillet’ at New Jewish Theatre

‘My Yiddishe Mama’ and Me: ‘Raging Skillet’ at New Jewish Theatre

By Andrea Braun
Contributing Writer
You haven’t lived until you’ve celebrated the Passover Seder in a camper sitting on a pick-up truck parked at a truck stop. Well, it makes sense in a way. You only have to clean a very small space, you don’t have to get rid of all the non-Kosher food, and it IS a change of scene. But still, oy vey!
Sarajane Alverson in “Raging Skillet”Photo by Eric WoolseyWhen I’m going to review a play, I usually look for background material. Raging Skillet by Jacques Lamarre is based on a memoir by Chef Rossi (Sarajane Alverson). I found a used copy of the book, then as is also my habit, I didn’t read it. But I went to consult it today about a plot point that was troubling me, and I read the whole thing about her wild ride to the top of the food chain. Obviously every detail of a book cannot be fit into a 75-minute play, but focusing on experiences that limn Chef and her family replicates the fun of reading this unorthodox autobiography. Focusing most closely on the mother-daughter experience, the work is insightful and laugh-out-loud hilarious.
When audience members enter the theatre, we’re handed a napkin, as well as a program because there will be food. Chef has worked in restaurants, but the bulk of her jobs come through her catering company, the eponymous Raging Skillet. The audience is directed by signs indicating which section will get a sample of which dish. This is a clever idea, but it doesn’t work well. Interrupting the action for long enough to serve a large group is awkward and breaks up the flow. Also, as the show started the actors seemed stiff, and I was concerned that it was going to be a misfire overall, but not at all. Once the actors found their footing, maybe 10 minutes in, Raging Skillet became a delight.

We sit around a well-equipped, attractive kitchen with a projection screen on the wall and an aerie for a DJ above. The set design is by Dunsai Dai and the extremely effective sound and projections are by Michael B. Perkins. Everything is illuminated beautifully by Michael Sullivan. We’re told we’re attending a book signing for The Raging Skillet. Alverson is joined onstage by Erin Renee Roberts playing “Skillit,” which must translate as “everybody else mentioned throughout,” from the DJ to Chef’s father Marty, other family members, co-workers, friends and lovers. She’s the hardest working woman in show business here.
Erin Renee Roberts, Kathleen Sitzer Photo by Eric WoolseyThe two are quickly joined by Chef’s mother, Harriet (Kathleen Sitzer), which wouldn’t normally be strange, except this stereotypical Jewish mother has been dead for 25 years. Yet here she is, dressed in mismatched clothing (costume design by Michele Siler), complete with a lavender snood and tennis shoes, kvelling, kvetching, and otherwise raising all kinds of michegas for her exasperated daughter. They argue about, well, everything from names (the family name is Ross changed from Rosenthal then further altered by Chef to “Rossi” having dropped her first name), to Harriet’s infatuation with the microwave, to Chef’s lesbianism and Mom’s coupon fixation. And the cherry on top is that Sitzer is a scene stealer extraordinaire. I found myself watching her, even when she wasn’t directly involved in the action.
Lee Anne Mathews’ direction is a marvel of motion, precision, and impeccable timing. The play itself has an improvisatory quality, and by emphasizing that, Matthews brings out a breeziness it might otherwise lack. Stage Manager Emily Clinger is the wizard behind the (metaphorical) curtain.
If I talk too much about the plot, I’ll give away bits that should be little surprises, so I’ll let you discover them for yourself. Meanwhile, remember that everything cool began with the Fonz, there’s nothing like a group of Southern women in a plus-size clothing store who have just learned of Elvis’ death, and, in the end, there may be more to our parents than we ever really knew. Food is love, bitches, rock on!
Raging Skillet is at the NJT through Oct. 21. You may call 314-442-3283 or visit newjewishtheatre.org.  
NOTE: I know most of you don’t read the program (sigh) but should you in this case, the title page has left out Michael B. Perkins name (Michael Sullivan is credited twice). The next page does have the correct attributions. Also, make it a point to read the Director’s Note.
Kathleen Sitzer, Sarajane Alverson and Erin Renee Roberts in “Raging Skillet,” Photo by Eric Woolsey