By Lynn Venhaus

A trio of ragtag revolutionaries cling to their cause and their rules as they hide from an authoritarian regime in the very quirky and vague-on-purpose “Pictures from a Revolution” (Quadri di una rivoluzione) by Sicilian playwright Tino Caspanello.

Strange but intriguing because of the agile skills of the acting quartet, this U.S. premiere is uneven in tone, perhaps because of the English translation by Haun Saussy, but then again, Caspanello is committed to keeping us guessing and in the esoteric structure with the sketchiest details.

While the men – called by numbers, initially act like the Three Stooges, they are in a serious battle to maintain their resistance against totalitarian forces in an unidentified country.

While living inside the walls of a stadium, they take turns being on guard, convinced enemies are lurking outside, waiting to capture the rebels. They make grand gestures and believe there is a purpose to their righteous anger. After all, they are following their rules.

What do they stand for, and why are they still fighting? They’re hungry, tired and cranky, debating actions to take. J. Samuel Davis, in a wonderfully comic role, is the sage 584, the oldest of the group. He decides to journey outside their encampment in hopes of lassoing a cow – for milk and eventually meat. His slapstick is a delight.

Isaiah DiLorenzo and Andre Eslamian. Photo by ProPhotoSTL

Instead, he has captured an unnamed woman (Lizi Watt), who ferociously fights him like a caged animal on the attack. They are confused by her then eventually won over by her charms. She changes her story but begs them to believe her. She must stay or they may be found out.

Watts is impressive in this fierce and fearless role that she tackles with robust physicality. Should they trust her or is she dangerous? She throws off the dynamic of the trio – Isaiah DeLorenzo is at his idiosyncratic best as 892, the chief. He likes to pontificate about ideals and how important their mission is. We don’t really know who the enemy is.

As the youngest rebel 137, Andre Eslamian has another fine turn after strong work in Lize Lewy’s “Longing” last summer and in SATE’s “The Palpable Gross Play: A Midsummer adaptation” the year before. His character seems the most pragmatic and tends to a garden.

Director Philip Boehm has added a performance art quality to the production by his artful staging, and using dance-like movements for all characters, which become more pronounced as the 90-minute play unfolds. Cecil Slaughter was the movement coordinator, and the ensemble is elegantly in sync.

Another unusual aspect of this play is its inclusion of 11 works of art by some of the world’s most famous painters – shown as slides, with Boehm narrating as if he’s teaching an art history class. Among them: “The Night Watch” by Rembrandt, “Leda Atomica” by Salvador Dali, “The Bride Stripped Bare by Her Bachelors, Even” by Marcel Duchamp, “Ballet Rehearsal on Stage” by Edgar Degas and “Cornfield with Crows” by Vincent Van Gogh.

Lizi Watt as The Woman. Photo by ProPhotoSTL.

The scenes often echo the themes of the famous painting being shown before it, which is interesting. Patrick Huber’s projection work is fluid in presenting the paintings. He also worked on the scenic design, fashioning an enclave for the squatters that has a lived-in feel, aided by propmaster Rachel Seabaugh.

Because the dialogue is fanciful, and the situation almost surreal like, there is little emotional connection, and the conflicts are both petty and daunting. Much bickering wears down one’s goodwill — but the funny situations do elicit laughs.

The technical work is uniformly first-rate, with Michele Friedman Siler’s costume design giving each man a distinctive look and outfitting The Woman in a slinky dress, an evening bag and nice heels, so that questions are raised by her appearance.

Boehm and Huber also handled the intricate sound design while Steve Carmichael took care of the lighting design, reflecting the different times of day. Joe Schoen worked as a vocal consultant.

“Pictures from a Revolution” continues Upstream Theater’s commitment to exploring thought-provoking works from around the globe that are universal in its themes. At times, it seems like theater of the absurd, while other moments are dark comedy.

And the cast’s commitment to bringing different elements of humanity to their roles is admirable, which is why their performances stand out, not only individually, but as a quartet.

Upstream Theater presents “Pictures from a Revolution” from Jan. 24-26, Jan. 30-31, Feb. 1-2, and 6-8, at The Marcelle Theater, 3310 Samuel Shepard Drive, St. Louis. There is a 2 p.m. matinee and an 8 p.m. performance on Saturday, Feb. 8. The play runs for 1 hour, 30 minutes without intermission. This play contains language that some may find offensive and well as discussion of mature themes. For tickets, contact metrotix.com. For more information, visit www.upstreamtheater.org.

Photo by ProPhotoSTL.

By Lynn Venhaus

Pondering a conundrum like destiny or free will is what the Spanish classic drama “Life is a Dream” aims to do.

Because the material is from a different era and country, a director’s key quest would be to cast the right people to re-energize a verse translation for a modern audience. And thoughtful chronicler Philip Boehm did just that – he gathered a dream team to fulfill his vision in a superbly produced Upstream Theater play.

They added the polish, he delivered the panache for this stimulating allegory about illusions vs. reality. Its broader appeal speaks to the blurred lines and political uncertainty of today.

The 1635 play by Pedro Calderon de la Barca, a legendary literary figure, comments on the Spanish Inquisition, and how it used the law to combat heresy. At issue was religious freedom and scientific truths vs fundamentalists and Biblical doctrine. This version was translated by G. J. Racz, a humanities professor, in a 2006 Penguin Classics publication.

Gary Glasgow and Reginald Pierre. Photo by ProPhotoSTL.

On a barren stage, with only a chair and a set of chains visible in a scenic design by Patrick Huber, a royal tale of birthright, palace intrigue, and political maneuvering unfolds in a precise, methodically composed way that emphasizes intricate motives and flawed humanity.

The setting is Poland and Russia plays part in the power-jockeying underway. That a 17th century work could captivate an audience 400 years later is a credit to the talent on stage but also the creative team behind the scenes.

Calderon, regarded as one of the most distinguished playwrights of his time, grappled with perceptions vs. what really happened, which is parallel to today’s acceptance of ‘alternative facts.’

Boehm uses that dichotomy to tell this story in the style of the Spanish Golden Age, a period also marked by Miguel de Cervantes’ “Don Quixote” in 1605, for reference. (If the framework reminds one of the Elizabethan era, that’s certainly valid, too).

Boehm, an astute student of history, has made Upstream’s focus, since 2005, one of bringing contemporary and classic world theater that “move you, and move you to think.” He is looking for a deeper connection here between the past and present concerning fate and reason.

And that assignment is understood by the nine performers – one of Upstream’s larger casts – who invigorate that space and command attention at every turn.

Jerry Vogel as the king. ProPhotoSTL photo.

Emerging from (semi) retirement to portray the resolute ruler King Basil, Jerry Vogel reminds us why he is considered one of St. Louis’ finest actors. In his 10th Upstream appearance, he convinces as a man of contradictions — a mathematician swayed by superstition and intent on preserving his power through a prophecy.

Paying heed to an oracle, he imprisoned his son, Segismund, at birth, so that he couldn’t become a threat, challenging his father’s authority – and even kill him.

It’s now 25 years later, and second thoughts have led him to free his son from captivity, basically unleashing a beast – but as a test, physically and psychologically – to see if he could turn over his kingdom to the prince.

In a fierce performance, Reginald Pierre lashes out as the incarcerated heir, confused by his freedom and struggling with decision-making. If given the chance to defy his fate, can he? Or will emotions rule from the heart and not the head?

Of course, he wreaks havoc at the palace, but the king has put a safeguard in place – if he feared his son’s actions, he’d jail him again, drug him, and say it was all a dream.

Jennifer Theby-Quinn and Mitch Henry-Eagles. ProPhotoSTL photo.

Then, he would abdicate so his niece and nephew could ascend to the throne. First cousins Astolf (Mitchell Henry-Eagles), Duke of Moscow, and Stella (A.J. Baldwin) are a pair not to be trusted.

Rosaura (Jennifer Theby-Quinn) enters the picture, a Russian noblewoman disguised as a man, so she can exact revenge on Astolf, who behaved very badly in the name of love. She and her servant Clarion (Alan Knoll) are in a jam. Their horses have run off, and they discover the secret tower where Segismund is chained.

The plot thickens as secrets are revealed. Clotaldo (Gary Glasgow), the king’s right-hand man and old nobleman, discovers that a secret he has kept for years, has now materialized with the sword Rosaura possesses. It is the one he left in Moscow that he intended for his child. Rosaura is unaware that he is her father.

As supporting players, Bryce A. Miller and Michael Pierce capably fill multiple roles as guards, servants and soldiers. Pierce was also the fight coordinator for the show.

Pierre’s dynamism is matched by the ensemble’s crisp delivery and spirited characterizations. Their understanding of the text speaks to the experience of the veterans in the cast, those who have performed in local Shakespeare and classic literature presentations.

Theby-Quinn, a three-time St. Louis Theater Circle Award winner, always brings a vitality that stands out on stage, even when the roles are as confined gender-wise, as a 17th century female fighting for her honor, would be. She’s as robust as Knoll is funny. His Clarion has fun playing the fool that he’s been pigeon-holed as, making him even more amusing.

Alan Knoll as Clarion. Photo by ProPhotoSTL.

Costume Designer Michele Friedman Siler’s use of various textures in royal attire is striking, as is Steve Carmichael’s lighting design, adding to the moody atmosphere. Philip Boehm and Sabria Bender’s sound design was flawless.

The creative team included Jane Paradise as assistant director, Patrick Siler as stage manager, Brian Macke technical director, and Emma Glose on props.

When rebels free the prince from the tower, Segismund has learned a great deal – and above all, lessons of love and forgiveness. The storytelling has a few surprises, so it’s not as easy to predict, but ends optimistically as honor is restored.

To borrow from that enlightened period, to dream an impossible dream – bear sorrows, right wrongs, and keep hope alive, is a noble endeavor that leads to more understanding. “Life Is a Dream” makes a case for living in the present, but also keeping dreams alive, and Upstream underlines that with exclamation points.

Jerry Vogel and AJ Baldwin. Photo by ProPhotoSTL.

Upstream Theater presents “Life is a Dream” Oct. 18 – Nov. 3 at The Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. Performances are Thursday through Saturday at 8 p.m. and Sunday at 2 p.m., with a special evening performance instead at 7 p.m. on Oct. 20. The play runs 2 hours and 20 minutes with an intermission.
Bohemian Thursday is Oct. 24, and all tickets are $15. For more information, visit www.upstreamtheatre.org

Theby-Quinn and Pierre. ProPhotoSTL.

By Lynn Venhaus

Perceptively directed and thoughtfully acted, “Trayf” is an ode to friendship, an exploration of faith and tradition, and finding one’s own path to enlightenment.

New Jewish Theatre’s St. Louis premiere of Lindsey Joelle’s 2018 play is noteworthy for its heart and humor, but also in the painstaking care that they have used in sharing this story.

One need not be an expert or be all that familiar with Jewish customs to enjoy this warm and winsome story of young men at crossroads.

The universal coming-of-age theme has specific elements to seamlessly educate in an insightful way about an ultra-Orthodox sect of Judaism — Chabad Hasidism.

Director Aaron Sparks has masterfully interpreted the material so that we witness how these two 18-year-olds have been shaped by their religious teachings. Joelle’s dialogue snaps and crackles, and the convincing actors make it pop with peppy patter and engaging portrayals.

Spencer Sickmann, Jacob Schmidt and Bryce Miller. Photo by ProPhotoSTL.

Best friends Schmuel and Zalmy grew up in Crown Heights in Brooklyn, New York. It’s the summer of 1991. Together, they drive a Chabad “Mitzvah Tank” in borough neighborhoods as lamplighters, to zealously spread their faith. They’re ready to take on the world, but they discover they have much to learn.

The pair are similar but have different personalities, and dynamic duo Jacob Schmidt and Bryce Miller convey a deep commitment to each other, their families and their community. They are funny in their exchanges, for Joelle’s wit sparkles, and their enthusiasm is refreshing.

As Schmuel, Miller is an absolute, a by-the-book guy who doesn’t veer off course, and who is always guided by the principles of faith. He is fervent about his beliefs.

He doesn’t grasp Zalmy’s yearning, his curiosity about the secular world. Why would his childhood friend not be content with the way things always have been and want to learn more?

As Zalmy is beguiled by the modern world and the freedom to broaden his horizons, Schmidt has a childlike wonder about him, like “The Little Mermaid” Ariel and her fascination with all things above the sea, on land.

Schmuel is disapproving. Life is following the rules, not seeing how they can break them. He’s not open to Zalmy’s desires and temptations. They may be growing apart, but they still love each other.

The conversations are candid, and a tad irreverent, indicating both are naïve They share their innermost thoughts on sex and romance and express their fears and doubts. There is always that nagging feeling that they don’t fit in as they go about their journeys.

Schmuel wants them to have the exact same experiences, but Zalmy’s interest in other music, roller-skating and wearing blue jeans is blasphemous to Schmuel.

One day, a charismatic stranger tells them he just learned that his father was Jewish and wants to learn more about Judaism. Spencer Sickmann plays Johnathan, who works at a music store, and gives Zalmy samples of the latest music.

While teaching him about their faith, Zalmy is enamored with Johnathan’s lifestyle. He has a girlfriend. He wears jeans and cool T-shirts, perfectly selected by costume designer

Annie Zigman, Bryce Miller. Photo by ProPhotoSTL.

Sickmann, who always disappears into a role, had taken a break from the stage before returning to direct at the LaBute New Play Festival this past summer. He was last seen in NJT’s “My Name is Asher Lev” in 2020, right before the pandemic shut social activities down. He is reunited with the “Asher Lev” director Aaron Sparks.

He becomes pals with both young men, but spends more time with Zalmy, who is conflicted about the strict rules of his faith, while Johnathan has given up a lot of his secular customs, including breaking up with his girlfriend Leah. As played by Annie Zigman, she has one scene discussing how Johnathan has changed because of their teachings.

Schmuel is jealous of Johnathan and Zalmy’s bond, and there are reflections by each on their growth.

The play is full of music – both the Orthodox religious music that Schmuly and Zalmy love, as well as the mainstream music that Jonathan introduces to Zalmy, and highlights the connection of music to religious experience. Sound designer Kareem Deanes gets it right.

It is set in the summer of 1991 – just prior to the Crown Heights riots that took place in August of that year.  The play shows the Chabad community before it was changed by those events.

The Crown Heights riot was a race riot that took place from August 19 to August 21, 1991, in the Crown Heights section of Brooklyn, New York City. Black residents attacked Orthodox Jewish residents, damaged their homes, and looted businesses. It was caused by the collision of a Chabad motorcade with Guyanese children, killing one. The statistics are sobering: 129 arrested and injuries to 152 police officers and 38 civilians.

The play is described as “a road-trip bromance that is a funny and heartwarming ode to the turbulence of youth, the universal suspicion that we don’t quite fit in, and the friends that see us through.”

The story is lived-in, and the conflicts are genuine, with Sparks at the helm. He’s the son of Zelda Sparks, who was the director of cultural arts at the J for many years

It is directed by Aaron Sparks, who was last at NJT for My Name is Asher Lev in 2020, the last production at NJT before COVID shut everything down.  Aaron is also the son of Zelda Sparks, who was the Director of Cultural Arts at the J for many years, so this is a homecoming for him to direct this play in the community that raised him.

The creative team’s work also stands out, with Lily Tomasic’s grid-like set and functional Mitzvah Tank, lit well by lighting designer Michael Sullivan.

The yearning for connection and the importance of community is palpable, with the acting ensemble in top form.

New Jewish Theatre presents “Trayf” Thursdays at 7:30 pm, Saturdays at 4 and 8 pm and Sundays at 2 pm from Sept. 12 through Sept. 29. It is 95 minutes without intermission. Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org. For more information: jccstl.com/arts-ideas/new-jewish-theatre/current-productions.

Photos by Jon Gitchoff, ProPhotoSTL.

By Lynn Venhaus

“What do you see?”

The opening line of “Red” establishes the essence of this brilliant fact-based drama by John Logan.

An invigorating portrait of abstract expressionist Mark Rothko focuses on the singular artist at a crossroads in his career. An astounding Christopher Harris has vividly sketched this mercurial icon with intense physicality and quicksilver verbal jousting.

Rothko, a Russian immigrant who arrived at Ellis Island in 1913 with his Jewish family when he was 10, was known for his uncompromising nature, ambition, obsessiveness, and troubled, restless mind.

In the 1950s, he rose to prominence in the ephemeral art world, and now is considered one of the most influential artists of the 20th century. But as his celebrity grew, so did his doubts about artistic integrity.

From 1949 to 1970, he rose to fame for his minimalist soft-edged, shaded rectangular color blocks on unframed canvases – such as “Lavender and Mulberry,” “Yellow Over Purple,” “Four Darks in Red” and “Orange and Tan,” which produced a variety of emotional responses.

Christopher Harris, as Rothko, and Dustin Petrillo as Ken. Photo by Jon Gitchoff.

Through these infinite variations of vibrant divergent color blocks, he opened the power of raw emotions. Striving for depth, he employed layering in painting, and through his bold techniques for color, size and space, he crafted a signature style.

He was sensitive to harsh criticism that abstract art could be painted by 5-year-olds, as this fictional play indicates he was motivated by ideas and mindful of his legacy.

Harris’ Rothko alternates between reflection, frustration and pontification. Wanting to remain relevant and create a memorable work for posterity, yet irked by the monetary reason that went against his principles, he second-guessed a major decision.

He had accepted the largest commission in modern art history – $35,000, his first, from the deep-pocketed Seagrams to produce four large murals to hang in their building at the elite Four Seasons. The new place would become Manhattan’s poshest restaurant.

The time is 1958-59 and the place is a former gymnasium remodeled into an art studio in the Bowery neighborhood of New York City.

Through blunt conversations with his employee Ken (a fictional character that’s a composite of multiple assistants the iconoclast had), he will change his mind. But that defining moment comes after the men have intense and fascinating discussions about art, artists and the drive to create.

Petrillo as the assistant. Photo by Jon Gitchoff.

As the eager and earnest assistant, the intuitive young actor Dustin Lane Petrillo delivers another perfectly calibrated performance, following his dynamic turn as Hamlet in St. Louis Shakespeare’s production earlier this year, and was exemplary as the title role in “The Immigrant” at New Jewish Theatre last fall, nominated for a St. Louis Theater Circle Award.

Ken is an aspiring artist and is at first colorless, but we see his shadings emerge as he adapts to the complex and mysterious Rothko’s demands, outbursts and temperament. His rigorous assignments are to mix paint, build frames, stretch canvases – and get lunch, go on errands and whatever else his difficult boss orders.

Over a two-year period, gaining confidence, he begins to challenge Rothko, believing art should reflect change. Rothko’s vulnerability seeps through his façade, and so does his torment.

The tortured artist couldn’t quite reconcile the motives connecting commerce and art, especially rampant corporate capitalism. He wrestled with the role of art in society – décor or thought-provoking?

With this two-hander, the actors are strongest in collaboration – and they must create paintings live on stage, which is both daunting and enthralling. They accomplish it with elan.

Petrillo and Harris. Photo by Jon Gitchoff.

They crafted a working relationship that alternated between tempestuous and harmonious, and the duo mesmerized for 90 minutes. You can feel them challenging each other, demonstrated by their mastery of the back-and-forth like they’re lobbing tennis shots in a Grand Slam final.

Harris. who has not only stage experience but also film, television and radio, was last seen in NJT’s “Life Sucks” in 2018. portraying Vanya in this comedic take on Chekhov’s play “Uncle Vanya.”

Taut direction by Alan Knoll makes this tightly controlled atmosphere engrossing. The comic relief is well-timed, and the material richly textured. Knoll had gracefully directed two triumphant Neil Simon comedies for NJT in recent years – “Brighton Beach Memoirs” and “Broadway Bound.” This show is a tall order, and he’s up to the demands, because to pull all of this together had to be an incredibly arduous task.

During this play, Rothko rails against the status quo, disparaging people who preferred safe pieces suited for “above the mantel,” revealing Rothko’s disdain for his contemporaries and the rising stars of pop art.

Battling depression his entire life, Rothko died by suicide in 1970. He was 66. The play does not include an epilogue, preferring to concentrate on that momentous two-year period of passionate creativity in the late 1950s.

He would go on to cancel the Seagram contract in 1960, and instead donated pieces to the Tate Gallery in London in 1966.

Well-researched and thoughtfully written by Logan, “Red” elevates art appreciation. He is meticulous in conveying Rothko’s strong scholarship in art history, bringing up the effect Rembrandt’s emotive use of light had on him when seeing one of the Dutch masters’ paintings, and other impactful pieces.

Harris. photo by Jon Gitchoff.

The visceral drama won the Tony Award for Best Play in 2010, taking home five other awards including one for Eddie Redmayne as Ken for Best Featured Actor in a Play. (Alfred Molina, who originated the leading role, lost to Denzel Washington for “Fences.”)

The St. Louis-based Fox Theatricals was among the Broadway producers. The Repertory Theatre of St. Louis presented the show in 2011, opening its 45th season soon after the play’s triumphs in London and NYC, and it hasn’t been professionally produced regionally since then.

Logan, whose lauded career includes writing plays for 10 years in Chicago before penning the screenplays “Any Given Sunday” in 1999, Ridley Scott’s “Gladiator” in 2000, Martin Scorsese’s “The Aviator” in 2004 and “Hugo” in 2011, the latter three all Oscar-nominated, and two James Bond films for Sam Mendes, “Skyfall” in 2012 and “Spectre” in 2015.

The New Jewish Theatre produced Logan’s chilling first play “Never the Sinner” about killers Leopold and Loeb in 2017.

Scenic designers Peter and Margery Spack, whose painstaking details often stun in breadth and scope in the Wool Studio, have transformed this pliable space into a functional work, with outstanding props collected by Katie Orr. They have replicated, with permission, Rothko-style canvases.

Studio. Photo by Jon Gitchoff.

The award-winning designers studied archival photos and accounts to recreate the studio as faithfully as possible in the theater, including an Adirondack chair Rothko favored.

Lighting designer Jayson M. Lawshee has expertly shut out natural light, per Rothko’s notorious edict, while sound designer Justin Smith has astutely selected mood music of preferred classical and period jazz pieces. Michele Friedman Siler, whose period costume designs are notable for their accuracy, outfits the two artists appropriately.

Rothko once wrote: “The tragic experience of catharsis is the only source of any art. Art is an adventure into an unknown world, which can be explored only by those willing to take risks.”

This inspired production honors risk takers and spotlights universal truths while presenting an interesting debate about the role of art in society. Featuring two robust performances and exceptional production values, “Red” should not be missed in this stellar environment.

This is not a rehash of your college modern art history class, and hurray for that distinction. The effort that went into every aspect of this stimulating show is obvious – and admirable.

Harris. Photo by Jon Gitchoff.

New Jewish Theatre presents “Red” July 25 through Aug. 11 in the SFC Performing Arts Centers’ Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis. Performances are Thursdays at 7:30 pm, Saturdays at 4 and 8 pm, and Sundays at 2 pm. The show is 90 minutes without intermission. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org. For more information: jccstl.com/arts-ideas/new-jewish-theatre/current-productions.

As a bonus event, scenic designer Margery Spack will give a presentation on her fascinating research into Rothko’s studio and the designers’ process in translating it for the NJT stage on Sunday, Aug. 4 following the 2 pm performance.

By Lynn Venhaus

Perhaps.

That one little word changes everything in how we perceive “Don’t Wait for the Marlboro Man,” a cryptic collision of lifestyles and values that is interestingly framed in a small space teeming with tension.

The acting trio’s performances are strong, and the production values are too as this enigmatic story unfolds. Director Philip Boehm translated a play written by Olivier Garofalo about two distinctive personalities who meet in a hospital waiting area, from German to English, for its U.S. premiere by Upstream Theater.

An air of mystery pervades because the narrator Eric J. Conners, matter of fact and authoritative, seems to indicate a larger force at work, possibly spiritual and other-worldly in nature.

It is a view askew. But we can only surmise what is real and what is imagined. The two acting partners don’t ever give us a hint, just indicate it may not be so clear-cut by their halting speech patterns and unnatural stylized movements.

Pro Photo STL

That may be because Boehm said the original script did not punctuate any dialogue, leaving it up to the actors to determine what to do, along with the director, in a collaborative spirit.

Superb Caitlin Mickey plays the driven, controlling Sarah, who has rushed to the hospital from her office after receiving the news of her fiancé’s motorcycle accident. With her cell phone in hand, she is working while waiting for news.

In struts a peculiar fellow, Pedro, and whipsmart Isaiah Di Lorenzo excels at playing oddballs. He is her boyfriend’s motorcycle buddy that she knows nothing about, which immediately puts her on edge. Who is this shaggy dude who brought a grocery sack of snacks and shares information about her, but she’s never heard of him?

She appears to wonder what else doesn’t she know, and what more does he know, but isn’t saying? This establishes an off-kilter sense of action – and reaction.

The pair circle each other warily. Can they trust each other, or will they keep pretending to do this unsettling dance as minutes tick by? They take turns being anxious and apprehensive.

ProPhotoSTL

He has a fondness for ants. She recalls happier times with her partner. His eccentricities agitate her, and her chilly demeanor annoys him. DiLorenzo is always at his best being physical, and Mickey’s skillset is a good foil. The unconventional nature of this play adds to their wordy swordplay.

The sound design by Michael Musgrave-Perkins and Boehm is particularly effective, lending a real but frenetic quality to the proceedings. A vending machine’s noises are contrasted with the medical machine beeps that monitor vital signs, and it’s lulling as we acclimate to the waiting area’s purpose: passing time. But also, eerie.

As the two chat, they touch on personal freedom, social responsibility and risks. The characters are complex, and as the play progresses, their behaviors raise more questions than answers.

Sarah hates motorcycles and disapproved of her beau’s hobby. They don’t seem compatible. But maybe they were attracted by ideology and not by inclination.

Pedro appears to be open-minded but may not like her at all and she acts close-minded but maybe she isn’t so rigid.

Doubtful, but these two are thrown together by happenstance. (Or are they?) And should it matter?

The pieces of the puzzle don’t seem to fit – or maybe they do. It’s up to you, and how you suppose what happened before, during and after figure into this tale.

ProPhotoSTL

The story gives one plenty to ponder once you leave the well-appointed space. Described as a “cold hallway in a hospital with fluorescent lighting,” Mike Loui’s set design is well-suited for the characters’ movements. Steve Carmichael’s lighting design and the intriguing sound design add to the details.

Michele Friedman Siler’s costumes astutely outfit the characters’ personalities – Mickey in a blazer and DiLorenzo in leather jacket, jeans, and bandana, with nifty safety goggles.

“Don’t Wait for the Marlboro Man” is a rumination on life and death that’s well-acted and executed. The characters are drawn together by a man in critical condition. One could overthink it but shouldn’t. Our mortality has an endgame that we all must face, and this taps into that finality.

Upstream Theater presents “Don’t Wait for the Marlboro Man” April 12-14, 18-21, and 25-28 at the Kranzberg Arts Center, 501 N. Grand. All show are at 8 p.m., except Sundays (April 14 at 7 p.m., April 21 at 2 p.m. and April 28 at 2 p.m.). For more information, visit www.upstreamtheater.org

By Lynn Venhaus

In an extraordinary, reimagined interpretation of Stephen Sondheim’s classic “Into the Woods,” New Jewish Theatre immerses us into a vibrant in-the-round setting, where a vocal-rich ensemble of 11 takes on iconic fairy tale characters.

The harmonies stand out under the seamless music direction of Larry D. Pry, who also serves as the Narrator and expertly plays the piano while Christopher Bachmann is on cello and Helen Bednara is on bassoon. While only three, the virtuosos are a superb combination that elevates this show’s rich melodies.

To say they understand Sondheim is no small feat. The greatest theater artist of the past 75 years is demanding, but everyone connected with this production is up for that daunting challenge. To be able to master his complex harmonies is like winning a gold medal in the Olympic Decathlon.

This 1986 masterpiece was Sondheim’s second collaboration with book writer James Lapine after “Sunday in the Park with George” two years earlier. They both won 1988 Tony Awards for score and book, even though “The Phantom of the Opera” took home the Best Musical prize. (But it later won 2002 Tony for Best Revival, 2011 Laurence Olivier Award for Best Revival and last year’s cast won a Grammy Award for Best Musical Theater Album.)

Photo by Jon Gitchoff

When done right, “Into the Woods” can be magical, transformative in many ways (as I experienced in the 2022 Broadway revival and a whimsical, inventive interpretation at Stray Dog Theatre last spring).

The fact that this musical continues to speak to new generations and evolves with new insights nearly three decades later is a testament to its relatable themes reflecting on humanity.

The concept is deceptively simple – a storybook world but with real-people problems, and how these characters’ lives are uprooted, teaching them valuable lessons about life, love, and listening. How they need to really be present when together – meaning it, not just saying so.

This poignant New Jewish Theatre effort focused on the emotional layers of each character, who are desperate for happily ever after but not making the effort to change their ways until confronted with reality.

Every time I see this show, I am struck by new observations and how the tale has deepened over time, but it is reinforced that I am not alone when people leave me halfway through the wood.

And this much is true — I always will be misty-eyed during a few numbers, “No One Is Alone” and “Children Will Listen” specifically, and in this show, “No More” especially resonated.

Here, the biggest takeaway is what comes after the “happily ever after” when you want so badly to have your wishes come true but realize you can’t do it alone.

Photo by Jon Gitchoff

The characters are based on Brothers Grimm and Charles Perrault’s literary works, but they are molded by the performers to convey consequences from their less-than-ideal actions and impulsive decisions. No Disney aberrations here. Director Robert Quinlan focused on the storytelling, and he doesn’t waste a moment – no dilly-dallying whatsoever.

The format: the narrator exclaims “Once upon a time,” and we’re off on an adventure with four groups of characters – Cinderella wishes to go to the king’s festival, Jack wishes his cow Milky White would give milk, a baker and his wife wish to have a child, and Little Red Ridinghood wishes for bread to bring to her grandmother.

Be careful what you wish for – and soon we’ll know about curses. A witch convinces the childless couple that if they bring her four ingredients: “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” – in three days’ time, she will reverse the infertility curse.

Thus commences a long and winding path through the woods.

It’s the largest musical ever staged in the intimate Wool Studio Theatre, but only 11 actors are playing the 20-plus characters, with a few puppets too. And with scenes taking place in and around the audience, characters are right in the mix.

Photo by Jon Gitchoff

The cast truly gets a workout, setting the scenes and popping in and out, often relying on quick costume changes. They are marvels in motion.

Phil Leveling is outstanding, and one of the MVPs – he smoothly switches into the Wolf, Mysterious Man and Cinderella’s Stepmother without missing a beat. Cinderella’s Prince Matt Billings is also puppeteer for Milky White, another fluid transition. He works well with Kevin Corpuz as Rapunzel’s Prince, and their full-bodied “Agony” duet is a highlight. The nimble Corpuz doubles as Lucinda, one of the stepsisters too.

Molly Wennstrom soars as the Baker’s Wife, a role she’s well-suited for, and “Moments in the Woods” is terrific. She and her scene partner, Kevin O’Brien as the Baker, are splendid together, especially in “It Takes Two.” O’Brien is a versatile musical theater performer, and not only are they both strong in song, but also have the emotional heft to depict their rocky relationship.

O’Brien and Leveling are also dynamic in “No More,” bringing considerable depth to their version.

Kristen Joy Lintvedt makes an impressive debut as Cinderella, delivering lush vocals and putting some oomph and a little edge into the role.

Aliyah Jacobs opts for a trusting Little Red and sweet-voiced Sarah Wilkinson exemplifies a girl trapped in a gilded cage as Rapunzel, and also has fun as Florinda. Matthew Cox is both an innocent, naïve Jack, and the more obnoxious Steward.

Matthew Cox as Jack. Photo by Jon Gitchoff

Sarah Gene Dowling plays the Witch robustly as cruel and condescending, unforgiving of anyone’s flaws – except her own. As bitter as she is, when she is rejected, and crestfallen, her “I was just trying to be a good mother” is said with transparent desperation.

Victoria Pines is cranky and intolerant as Jack’s Mother, not giving any hints of humor, which always helps the passive-aggressive dialogue be more palatable.

Nisi Sturgis lends her considerable talents as the booming voice of the Giant (well, Giantess).

The group vocals stand out. The grown-up tale needs performers to bring out the complexities confronting each character, for everyone changes. No one is left unscathed.

Quinlan has done a masterful job of keeping things briskly paced. He aims for the sweet spot in tone – hopeful in the first act and rueful in the second. Perhaps a bit more whimsy with the necessary dark undercurrent, but I think they were so focused on crisp movements and infusing sincere emotion into each song, that no one let up for a second. Choreographer Ellen Isom kept the moves playful.

NJT’s in-house costume designer, Michele Friedman Siler, adroitly outfitted every character to support both the storytelling and the fast changes that the in-the-round setting demanded.

C. Otis Sweeney’s scenic design is exceptional – and enhanced by Jayson Lawshee’s lighting design, and not just the trees were awe-inspiring, but that full moon too. Amanda Werre’s skilled sound design was effective in the atmospheric woodland sounds and also by indicating danger in giant footsteps — and punctuating dashed hopes and dreams, and broken hearts.

Since its Broadway opening in 1987, there have been productions in London’s West End, national tours, Hollywood Bowl, The Muny, three revivals and a 2014 film adaptation. This fresh New Jewish staging can stand as one of the most heartfelt in the region. The melodies linger, the performers enchant, and the themes are re-awakened, stored for safe-keeping in my memories.

New Jewish Theatre presents “Into the Woods” from Nov. 30 to Dec. 17 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Performances are Thursdays at 7:30 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. (Closing show on Dec. 17 has sold out).

Individual tickets are $27- $58 with special rates available for groups. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org

Sarah Gene Dowling as The Witch. Photo by Jon Gitchoff
Photo by Jon Gitchoff

By Lynn Venhaus

Throughout history, class wars have ended badly for many people, overt often for people in the lower class, and less so for the ruling class.

But class never matters when people show you their true selves.

Such is the complicated “Bitter Fruit,” a 2018 social commentary-human drama by Argentinian playwright Hector Levy-Daniel, “El Fruto mas amargo,” which has been translated from Spanish by Philip Boehm.

Boehm, Upstream Theater’s artistic director, wanted to bring it here for the U.S. English language premiere, so he not only translated but also directed it in a deliberately mysterious way.

Since 2005, two-thirds of the plays Upstream has produced have been U.S. or world premieres, with the goal to not only “move you” but “move you to think.” And they always do. This is a play to mull about, for at its center is a logical question on identity that has dramatic consequences. How can you deny who you really are, and what does that say about us as a society?

The playwright’s focus on identity crisis has roots in Argentina’s Dirty War, when from 1974 to 1983, an estimated 9,000 to 30,000 were killed by the state, or disappeared, in a right-wing effort to eliminate leftist political adversaries, including writers, students and journalists. Others were imprisoned.

Their children were not always killed, and sometimes, they were put up for adoption or given to supporters of the right wing.

There are children born during this period that don’t know their real identities because they were adopted by their captors and given new lives. They either discover this fact or never know the truth, but there isn’t any justice or peace amid the inequality that rages, along with political corruption.

According to the play’s notes, about 500 children were affected and the Argentine government is still sorting it out after years of protests from grandmothers.

In this quietly devastating production, a committed cast provides complex portraits of people representing different factions of entitlement and insincerity, of loss and lies.

However, as good as actresses Jane Paradise, Jennifer Theby-Quinn and Michelle Burdette Elmore are, all members of the Actors’ Equity Association, they are not Latino women, and they are playing characters named Luisa, Maria, and Teresa respectively.

Isaiah Di Lorenzo has a small but important supporting role as Pedro Coltinari, the labor representative in factory negotiations, and in flashbacks, as Maria’s teenage paramour. He establishes his character’s pure heart and breaking point in only a few scenes.

None of the four identify as Hispanic — although the play never specifically states Argentina or alludes to the Dirty War, and there are no accents used, so…but it is perplexing, and does raise questions.

If it’s vague on purpose, so be it. Nevertheless, these days, people tend to notice whitewashing. It may not be as egregious as, say Laurence Olivier as “Othello” and John Wayne as Genghis Khan in “The Conqueror,” but it is something that crossed my mind, especially given Upstream’s commitment to shows with global themes involving marginalized people.

Set in a mansion, it’s late night or early morning, depending on your perspective, and a new maid, Luisa (Paradise), is up to prepare her mistress some tea, as requested as she waits for her daughter. Upon arrival home, haughty Maria, demands to know who this interloper is in her home.

As played coldly by Theby-Quinn, Maria is a cruel woman who has no qualms about making people feel inferior in her presence. She lacks compassion and a conscience, brought up in wealth, sheltered from the world. She is now running her father’s cotton mill with a tight fist and a disdain for the workers. They are in financial trouble, and Maria is tough about negotiations. Her mother, Teresa (Burdette Elmore) is clueless (or is she?).

Yet, once upon a time, Maria fancied a local boy, someone beneath her in social status, and those scenes reflect a person she used to be but is far removed from now.

Teresa, who was kept in the dark about that relationship, is oblivious to other behaviors and sentiments as well, and Michelle Burdette Elmore portrays her as if she’s firmly entrenched in a bubble — and a bit la-di-da.

Luisa’s gaze is a tad too intense for Maria, who is threatened by the new maid, for she views her as a spy who has infiltrated the home on behalf of the workers in the factory. Paradise’s gut-wrenching performance is the show’s highlight.

As tension increases – especially with suspicious deaths, and characters smolder, the secrets, deceptions, and denials are slowly disclosed.

Another of the show’s high points is original instrumental music performed by guitarist Lliam Christy. The minimalist scenic design by Patrick Huber represents a small portion of a large estate, with ornate touches to indicate affluence, darkly lit by Steve Carmichael to reflect shadows. Costume designer Michele Siler selected outfits according to economic status.

The playwright challenges memory and how sacrificing love shows true colors. It’s not an easy play to understand. Because one is off-guard, it is hard to relate to – however, Paradise’s performance as a crushed woman who has lost everything is haunting. Nevertheless, it brings attention to a tragic, dark time involving innocent children – and is that ever over?

Upstream Theater presents the US premiere of “Bitter Fruit,” by award-winning playwright Héctor Levy-Daniel in a translation by Philip Boehm, Oct. 13 through Oct. 29. It is 1 hour, 30 minutes, without intermission. Performances are Thursday through Saturday at 8 p.m., and at 7 p.m. Oct 15 and 2 p.m. Oct.22 and 29, and take place at the Marcelle Theatre, 3310 Samuel Shepard Dr. in Grand Center. For more information: www.upstreamtheater.org, For tickets, visit: https://www.metrotix.com/events/detail/upstream-theater-bitter-fruit

Photo by ProPhotoSTL

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.

By Lynn Venhaus
The laughs come in waves as wackiness ensues in “The Nerd,” a fizzy farce that showcases a nimble seven-member cast at their best.

Set in architect Willum Cubbert’s bachelor apartment in Terre Haute, Ind., in November 1981, what starts out as a typical drawing room two-act play soon turns into an outrageous comedy of manners that’s at once timeless and old-fashioned — but in a charming early ‘80s way. (Answering machine messages are a part of the humor).

Now on stage at the Strauss Black Box Theatre in the Kirkwood Performing Arts Center, the Moonstone Theatre Company’s fleet production accents the laugh-out-loud circumstances and plays up the absurd character traits in playwright Larry Shue’s clever classic.

As played by Oliver Bacus, Cubbert is an anxious people-pleaser. His two best buds are a snobby theater critic named Axel and an ambitious ‘weather girl’ named Tansy (also former girlfriend), who are moving along with their careers while he’s, well, ‘stuck in second gear’ to use The Rembrandts’ lyric to “I’ll Be There for You” (aka the “Friends” theme song).

And like that ensemble that just clicked together, Bacus, Bryce Miller and Bridgette Bassa are a tight trio, effortlessly conveying a realistic friendship and establishing their distinct personalities as the unusually named Willum, Axel, and Tansy.

Oliver Bacus, Bridgette Bassa, Bryce Miller. Photo by Jon Gitchoff

Miller adds the sour and Bassa brings the sweet to the mix. Miller superbly lobs sarcastic one-liners and keeps the disdain brewing as he demonstrates his adroit comedic skills.

Bassa, who has been memorable in such dramatic roles as the rebellious niece Jean in “August: Osage County” and as Billy’s girlfriend Sylvia in “Tribes,” both at St. Louis Actors’ Studio, shows her comedic chops again after appearing in “Grand Horizons” at Moonstone in March.

Noteworthy is her agility during back-and-forth trips between the kitchen and the living room while carrying food, keeping the show’s fast pace on track. And she is stylish encapsulating the typical early ‘80s chic career woman look by costume designer Michele Siler, along with the requisite big hair.

Willum’s concerned friends think he is too nice of a guy, and they encourage him to have more of a backbone because those habits have affected his decision-making. Nevertheless, he is trying to advance his career and persuade Tansy to resume their relationship and not move for a job elsewhere.

Ever loyal, Willum, a Vietnam War veteran, has talked about what he owes fellow soldier Rick Steadman for saving his life. During his ‘Nam service, he was seriously wounded, and while he never met the good Samaritan Rick, he feels indebted to him. In a letter, he wrote that as long as he was alive, Rick “will have somebody on Earth who will do anything for you.”

Ryan Lawson-Maeske, Photo by Jon Gitchoff.

Eager to collect the favor, Rick shows up one night, in the middle of a rather uncomfortable dinner party as Willum is trying to impress his hotel-owner client, who brought his wife, clearly ill at ease, and their rambunctious, spoiled son.

Weird timing, but Willum rolls with it, until he discovers just how peculiar Rick is and how disruptive he can be while staying as his houseguest. Pre-technology boom, the “nerd” definition was slightly different 42 years ago, and Ryan Lawson-Maeske embodies the socially inept, tone-deaf, unrefined guy in a full-throttle performance.

Accentuating the character’s oafishness, Lawson-Maeske affects a nasal, sing-song voice delivering goofy lines in a tactless way, and creating an awkward walk, so that his cadence and gait are funny no matter what he’s saying.

Bacus capably assumes the blander ‘straight’ man role because the eccentric people surrounding him need to standout. As an increasingly frustrated Willum, he feels put-upon, because this is a circus thrust upon him and people around him are demanding action in this escalating tug of war.

His exasperation and agitation grow as The Thing That Wouldn’t Leave wreaks havoc on his life. It all comes to a head when his friends concoct a ridiculous ‘foolproof’ scheme to send Rick on his merry way, and his domineering client is demanding immediate changes to his blueprints.

Kieran Thompson, Leslie Wobbe, Greg Johnston and Oliver Bacus. Photo by Jon Gitchoff.

It’s a tour-de-force comedic portrayal by the versatile Lawson-Maeske, who can easily move between comedy and drama on St. Louis stages. He fully commits to the madness, finding the sweet spot so that the growing animosity towards Rick’s obnoxious behaviors isn’t perceived as cruel, being hurtful to a hopeless cause.

Presenting the ‘work’ part of the dilemma is the irritating Waldgrave family, utilizing the synergy of veterans Greg Johnston as the blustery hotel magnate and Leslie Wobbe as his fretful wife, with Kieran Thompson displaying youthful energy as their bratty kid Thor.

Shue wrote two highly regarded comedies before his untimely death at age 39 in a commuter plane crash in 1985 — “The Nerd,” produced first in 1981, and “The Foreigner,” in 1984.

At first glance, the plays seem like tailor-made laugh fests with clever turns of phrase. Shue was gifted with remarkable verbal dexterity, and adds idiosyncratic touches – not just the odd names, but Rick is a factory chalk inspector? Tansy, playing hostess, brings out heaping bowls of three-bean salad and macaroni salad — quirky choices.

But Shue also underlined the human condition in such a way that we can relate. How many times do we need a push in life, that we must get out of our way to move forward?

With this ace cast under the shrewd and sharp-witted direction of Gary Wayne Barker, you expect a madcap romp but may be surprised by the heart the players have mustered, and what it has to say about work-life balance.

The ensemble moves easily around the nondescript apartment set designed by Dunsi Dai, with recognizable retro touches. While that is static, this cast is anything but, and their proficiency in making jokes land is admirable. Their timing is so crisp it doesn’t tip off any twists, either.

 And I doubt anyone in the audience will be wanting cottage cheese any time soon.

Greg Johnston, Bridgette Bassa, Leslie Wobbe, Oliver Bacus and Bryce Miller. Photo by Jon Gitchoff.

Moonstone Theatre Company presents “The Nerd” July 6 – July 23 on Thursdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m. in the Strauss Black Box Theatre at KPAC, 210 E. Monroe. General admission tickets are $40, with seniors $35 and students $15. For more information, visit moonstonetheatrecompany.com or call MetroTix at 314-534-1111.

Ryan Lawson-Maeske. Photo by Jon Gitchoff.

By Lynn Venhaus

Relevant and empowering, New Jewish Theatre’s “Gloria: A Life” celebrates one of the most inspiring women in history with a knockout performance by Jenni Ryan as feminist icon Gloria Steinem.

Ryan wasn’t initially cast as Steinem, but was announced as the replacement on May 27, a mere five days before opening night. Under intense pressure, not to mention a time crunch, Ryan admirably captures the essence of the leading lady, with gumption and authenticity.

Like others who have been called in at the last minute on productions, for the-show-must-go-on on opening night June 1, she did have a script with her, and nonchalantly glanced at it a few times, but without any awkward interruptions. She affected Steinem’s calmer demeanor while other females are venting on inequality.

Ryan was last seen at the J as the mom in “Broadway Bound” in January. This current turn is a real-life triumph when the show is highlighting women’s accomplishments. After all, Steinem refers to herself as a “Hope-aholic.”

Hope and drive permeate this work. And Ryan gets it – why Gloria matters, why this story is important, and why it is crucial that social activism continue in this current political climate.

Photo by Jon Gitchoff

But it’s not a one-woman show. Emily Mann’s play spotlights other remarkable activists who were catalysts for change in the workplace, the home, and politics in the late 20th century.

Mann, a veteran playwright and artistic director, enlisted Steinem’s participation and guidance for this play, which premiered in 2018.

Now 89 years old, Steinem’s legacy is a remarkable one, and this interpretation details how she used her voice to champion others, putting into practice her philosophy that conversations can prompt changes.

For those who weren’t alive during the rise of the women’s liberation movement in the 1960s and 1970s, this gives that time perspective and is a valuable history lesson. But the 90-minute play (without intermission) is not merely a look back at the discrimination and harassment women faced and how they found their voices in unity.

Rather, it is an urgent call to action for today’s pressing issues. Because struggles are ongoing – race relations, reproductive rights, gender equality, gun violence, patriarchy, #MeToo, other freedoms threatened and democracy in peril. (And that’s where the second act comes into play.)

During the first act of Gloria’s journey, a passionate ensemble embodies a revolutionary spirit, with six actresses playing various pioneers of an earlier era and key people in Gloria’s life.

Actress Sarah Gene Dowling is both gutsy Congresswoman Bella Abzug and Gloria’s broken mother Ruth; Kayla Ailee Bush is fiery Ms. Magazine co-founder Dorothy Pitman Hughes; and Lizi Watt is fierce Wilma Mankiller, first female chief of Cherokee Nation, among the prominent figures; and Chrissie Watkins, Summer Baer, and Carmen Cecilia Retzer take on multiple roles, wearing many hats (and scarves).

Civil rights attorney Florynce Kennedy is depicted, as are women wanting to make a difference. Nevertheless, there are some famous not-so-nice guys, people who aren’t fans, and other negative folks among the positivity.

As directed by Sharon Hunter in the J. Wool’s Studio Theater space configured in the round, the women swiftly move in and out, expressing themselves in discussion, fiery tirades, protests, sisterhood bonding, period music and dance. They reflect the conscience-raising efforts of those past decades.

Significant life touchstones mentioned include Steinem’s reporting days (of course the undercover Playboy Bunny magazine piece); co-founding the National Women’s Political Caucus in 1971 with Abzug, Betty Friedan, Shirley Chisholm, and others; co-founding the monthly Ms. Magazine in 1972; and the 1977 National Women’s Conference.

Gloria’s story portion concludes with the Women’s March in January 2017 in Washington D.C., where Steinem spoke to thousands of women wearing pink pussy hats.

Photo by Jon Gitchoff

A lively Dowling excels as “Battling Bella” – who was elected to the House of Representatives for New York City’s 19th district in 1970, and was a driving force in liberal political organizations, supporting the Equal Rights Amendment, a women’s credit-rights bill, abortion rights, and child-care legislation. (In 1974, women could finally get a loan without their father or husband co-signing it, thanks in part to Bella).

It’s also important to note that the cast and crew are all women. Scenic designer Fallon Podrazik kept the set simple for movement and interaction, costume designer Michele Friedman Siler assembled retro fashions representative of the times, while sound designer Amanda Werre created a mélange of important sound bites and familiar tunes, and there is distinct illumination from lighting designer Denisse Chavez.

Props master Katie Orr’s work was particularly demanding, replicating magazine articles and finding Ms. Magazine issues, not to mention making protest signs.

And there is a unique second act, a 20-minute interactive “talking circle,” that seeks audience participation in hopes of harnessing the energy of this production. Playwright Mann thought it was important to engage people and that these conversations could propel folks into action, pointing to Steinem’s mantra “the healing is in the telling.”

The ultimate goal is for people to learn from each other, and as Gloria has said: “This is the way we discover we’re not crazy and we’re not alone.”

Photo by Jon Gitchoff

At several performances, a local Guest Responder is launching the talking circle by sharing their own story of breaking barriers or simply responding to the play. For a complete list, visit: jccstl.com/njt-gloria-a-life.

The night I was there, State Senator Tracy McCreery led the conversation. One of the audience members pointed out that black women were at the forefront of the feminism movement, and that led to more reflections.

While it may seem that the needle hasn’t been moved that much in the past 10 years, I know that I stand on the shoulders of giants, and I am appreciative of the women who fought hard for the rights we now enjoy. After this viewing, I am optimistic, citing the words of “Hamilton”: “This is not a moment, it’s a movement.”

“Gloria: A Life” is certainly galvanizing, and the cast is enthusiastic about the stories they are sharing. It can fire up younger generations and spark renewed excitement by re-activating those Baby Boomers who recall the victories of the past. And Steinem is still fighting for human rights.

And this intimate look is another opportunity for those to marvel at how far we have come– although the work is unfinished. There are more trails to blaze and fires to put out. The play has something to say and the cast underlines it with vigor.

New Jewish Theatre presents “Gloria: A Life” from June 1 – 18, on Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre. For tickets, call 314-442-3283 or go online at newjewishtheatre.org.

Photo by Jon Gitchoff

Addendum: Some follow-up streaming programming:

  • “9to5: The Story of a Movement” is a 2021 documentary directed by Steven Bognar and Julia Reichert,” and currently streaming on Netflix. (It won the Joe Williams Documentary Award given by the St. Louis Film Critics Association. I was on that jury).

  • CNN miniseries “The Seventies” in 2015 – seventh episode is “Battle of the Sexes.” (Max)
  •  In a 2020 Amazon Prime original narrative film, “The Glorias,” Julie Taymor directed four different actresses to play Steinem at different stages of her life — Julianne Moore and Alicia Vikander as adults and Ryan Kiera Armstrong and Lulu Wilson as youngsters.
Photo by Jon Gitchoff