Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

Vocal-Rich Ensemble Delivers Extraordinary, Immersive ‘Into the Woods’ at New Jewish Theatre

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

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

Upstream’s ‘Bitter Fruit’ Is Quietly Devastating With Its Secrets and Lies

Upstream’s ‘Bitter Fruit’ Is Quietly Devastating With Its Secrets and Lies

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

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.

Daffy Doings In ‘The Nerd’: The One With the Houseguest from Hell

Daffy Doings In ‘The Nerd’: The One With the Houseguest from Hell

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.

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

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

Nimble Ensemble Shines in Unconventional ‘The Rose Tattoo’

Nimble Ensemble Shines in Unconventional ‘The Rose Tattoo’

By Lynn Venhaus
Emphasizing romantic symbolism along with its operatic life and death themes, an unconventional production of Tennessee Williams’ “The Rose Tattoo” is cleverly staged inside a Big Top ring, re-imagined as an Italian circus — complete with aerialists, animals, singers, musicians, and clowns.

The 1951 play is this year’s centerpiece for the seventh annual Tennessee Williams Festival St. Louis, one of my favorite not-to-be-missed events since 2016.

The Mississippi-born playwright, who spent his formative years in St. Louis, came to prominence in the 1940s, and in the decades following, cemented his place as one of the most significant playwrights of the 20th century. The festival celebrates his influence and art through his enduring works and early writings.

Always a detailed retrospective with speakers, education components, readings, films, tours and more, the fest’s fresh looks have a way of bringing out further insights during its 10-day schedule.

A bold and risky move, the exaggerated flourishes — while cinematic and reminiscent of Fellini fantasies — aren’t necessary to convey the heart of the matter, which is love in a time of chaos and the push-pull of grief, desire, and hope.

While the amusing accoutrements add to the production’s overall uniqueness, Williams’ poetic flair remains at center stage.

The nimble ensemble slips into the colorful characters that are part of an Italian immigrant community on the Mississippi gulf coast.

Williams’ play, which premiered in Chicago in 1950, became his fourth New York produced piece in 1951 after “The Glass Menagerie,” “A Streetcar Named Desire” and “Summer and Smoke.” It is his only one to win a Tony Award for Best Play.

Williams adapted the three acts for the movie in 1955, perhaps best known as the vehicle for which Anna Magnani won an Academy Award. The film was nominated for eight Oscars, also winning for cinematography and art direction.

Magnani, once described as the “volcanic earth mother of Italian cinema,” was a friend of the playwright. He wrote the part for her, considered her “the most explosive emotional actress of her generation.” But, thinking her English wasn’t up for the stage, she declined – and four years later, it was her first English language film role.

The earthy Serafina Delle Rose is an indelible heroine – suffering but not silent. Maureen Stapleton originated the role on Broadway, and Maria Tucci (1966), Mercedes Ruehl (1995) and Marisa Tomei (2019) played the tempestuous widow in subsequent revivals.

Under the Big Top, professional actress and academic Rayme Cornell commands the space as the fiery Sicilian seamstress.

Let’s face it, as written, both she and love interest Alvaro could be construed as antiquated over-the-top ethnic stereotypes. Chalk it up to dated material from 70 years ago. So, she and Bradley J. Tejeda walk a tightrope in dialect delivery.

Serafina is a complicated woman. Williams knows how to set up pain and passion, that’s for sure. Happily married to virile truck driver Rosario, Serafina discloses she is pregnant with her second child and that a rose tattoo appeared on her breast the night of conception, albeit temporary.

We never see Rosario but learn he ran black-market cargo for the mob underneath bananas and cheated with the delectably-named Estelle Hohengarten (Rachael Fox, on horseback). His life ends badly – shot, then his 10-ton truck crashes and bursts into flames.

Plunged into mourning, miscarriage, and misery, Cornell glowers, wails, and rages. In a well-worn pink slip, she deteriorates as a bitter recluse, refusing to face reality. A shrine to the Blessed Virgin Mary gives her sustenance.

You can’t tell by intermission, but “The Rose Tattoo” is a departure from Williams’ signature dramas. Considered more light-hearted, it still has his emotional whiplash.

Deep sorrow eventually yields to comedic interplay when a chance flirtatious encounter is life-changing.

That’s when the charming Tejeda swoops in as Alvaro Mangiacavallo, a buffoonish truck driver, and the play blossoms in his presence.

Tejeda, a New York-based actor and Yale School of Drama alum, has made his mark on local stages – first at St. Louis Shakespeare Festival in “Love’s Labour’s Lost” in 2019 and then the radio plays when the festival pivoted in 2020.

Last year, he brought both a sweetness and restlessness to Tom Wingfield, an extraordinary performance in the triumphant production of “The Glass Menagerie” outside at the Central West End apartment where Williams once lived.

Bradley J Tejeda as Alvaro. Photo by Suzy Gorman.

As Alvaro, he demonstrates his prowess in physical comedy, channeling Charlie Chaplin in looks and expressions, acrobatic in slapstick and darting around the set. It’s a splendid performance, injecting the play with a needed boost of vitality.

He easily won over the audience, especially when he joked that his last name Mangiacavallo means “eat a horse.”

“It’s a comical name, I know. Maybe two thousand and seventy years ago one of my grandfathers got so hungry that he ate up a horse. That ain’t my fault,” he said, eliciting laughter.

Serafina describes him as having a clown’s face on her late husband’s body. Even with their skilled performances, Cornell and Tejeda do not spark any sensuality.

But the young couple revealing an attraction that blooms into love does. Valentina Silva, memorable in Metro Theater Company’s “Last Stop on Market Street” last winter, plays Serafina’s smart, sheltered, and neglected 15-year-old daughter, Rosa Delle Rose, with youthful elan.

Stifled by her mother during the three years since her father’s accident, Rosa rebels, wanting to go out and have some fun. You feel her yearning for freedom, eager to take flight.

She is infatuated with a wholesome sailor, Jack Hunter, who was immediately smitten with the vivacious teen at a school dance. Oliver Bacus, who is quickly making a name for himself on local stages, seen last month in The Midnight Company’s seismic “Rodney’s Wife,” eloquently delivers Williams’ distinct dialogue.

Their innocent love story is a catalyst for Serafina to change, to let go, and that is illustrated by aerialists Annika Capellupo, Natalie Bednarski, Sage McGhee and Maggie McGinness of On the Fly Productions, with choreography by owner Jason Whicker. It is a lovely, graceful sight — but does this illuminate or distract?

The aerialists use satiny scarlet ribbons of fabric, which is the shade of a shirt Serafina is sewing, requested by her husband’s mistress to give her “wild like a gypsy” beau on their one-year anniversary, which is the last day he’s alive.

So much of Williams’ writing deals with symbols – consider the rose itself, with red buds a sign of romance, love, beauty, and courage. Here, it is a symbol of new beginnings too.

Understanding Williams’ dreams and desires has always been part of the fest, and the focus on Italy explores how visiting the country, soon after his first wave of success, was restorative to his psyche.

Giddy with fleeting joy and discovery of his new happy place, Williams dedicated his “love-play to the world” to his partner, Frank Merlo, an Italian American from New Jersey who served in the U.S. Navy during World War II: “To Frankie in Return for Sicily.” They met in 1948 in Provincetown, Mass., and spent 15 years together. Merlo died of lung cancer at age 43 in 1963 while Williams lived to age 71, passing in 1983.

The supporting cast captures the local flavor, and the quirky people he immortalized on paper.

Assunta, Serafina’s friend with psychic abilities, is played by Carmen Garcia with an air of mystery. She senses that “something wild is in the air.” Holly Maffitt is the “Strega,” considered a traditional witch, because the fates are part of this narrative.

Tyler White, a lively presence whenever on The Black Rep’s stage, is delightful as part of the neighborhood’s gossipy hens, as is Julia Crump as perky busybody Bessie.

Harry Weber is both teacher Miss Yorke and Father De Leo, the community’s strict moral gatekeeper.

The always fun to watch Mitchell Henry-Eagles enlivens the proceedings as an accordion-playing salesman and a doctor. Tony Viviano occasionally pops up to sing.

They serve as a Greek chorus of sorts, observing, moving in and out. Director David Kaplan likes to keep the players in motion, engaging the audience, and breaking the fourth wall.

Kaplan is well-versed in Williams’ aesthetic as one of the preeminent interpreters of his works. He is the curator and co-founder of the Provincetown Tennessee Williams Festival, now in its 17th year.

St. Louis experienced his perceptive vision in the dynamic “The Rooming House Plays,” four short plays he staged in the Stockton House, a local Victorian mansion, for the 2016 inaugural fest.

Williams’ works on longing and loss always move me more when we are in close quarters or exposed to a different canvas, so that I can feel the lyricism, make a specific connection. So, the cavernous Big Top was a challenge, but the cast’s immersion helped considerably.

James Wolk’s innovative set brought out an entirely new dimension, using multiple frames and shutters to stand in for doors and windows. The versatility punctuated the scenes, and the cast, adept at quick changes, did not lose a beat. Obviously, well-rehearsed, and efficient work by all.

The sound, however, had some issues Friday but was worked out. Designer Nick Hime engineered the sound and operated the board.

Jess Alford’s lighting design made use of dusky twilight in the early evening. Michele Friedman Siler’s thoughtful costume design differentiated the characters, and she effectively mixed textures.

This daring production has many moving parts, including four goats and a horse, which is difficult to pull off smoothly, and the esprit de corps is apparent. Stage Manager J.M. Bock and assistant stage manager J. Myles Hesse kept it flowing smoothly.

Williams was fascinated by the ebb and flow of time, which is a major component here. Between 1948 and 1959, he had seven plays produced on Broadway. This early one, however, is one of the few happy endings – because they found love in a hopeless place.

The Tennessee Williams Festival St. Louis presents “The Rose Tattoo” Thursdays through Saturdays at 7:30 p.m. and Sundays at 3 p.m. through Aug. 28 at The Big Top in Grand Center, 3401 Washington Avenue. For more information and tickets, visit www.twstl.org, and for a complete schedule of events.

The schedule includes a free showing of “The Roman Spring of Mrs. Stone,” based on Williams’ novel which he adapted for the screen in 1961, starring Vivien Leigh and Warren Beatty. It will take place at 8 p.m. on Wednesday, Aug. 24, at St. Ambrose Church on the Hill, 5130 Wilson Avenue.     

A Bocce Tournament starts at noon on Saturday, Aug. 27, at the Italia-America Bocce Club, 2210 Marconi Avenue.                          

‘Dear Jack, Dear Louise’ Taps Into the Beauty and Power of Connection

‘Dear Jack, Dear Louise’ Taps Into the Beauty and Power of Connection

By Lynn Venhaus

Playwright Ken Ludwig uses the written word like music in a symphony as his love letter to his parents, and actors Ryan Lawson-Maeske and Molly Burris make the heart-tugging “Dear Jack, Dear Louise” sing.

Now playing from June 9 to June 26 at the New Jewish Theatre, this dramatic comedy is an unexpected pleasure from its look back at an era of “The Greatest Generation” to its intimate love story that reinforces the power of human connection, no matter how many miles between.

With the help of the expressive performers who make the written words leap off the stationery, director Sharon Hunter has moved the pair around just enough in the confined space to keep focus on the two lonely souls forging a deep, long-lasting bond through war-time correspondence.

The challenge for Lawson-Maeske and Burris is to engage without making reading letters static, and they showcase their substantial skills for creating sincere portraits of two different personalities reaching out.

Lawson-Maeske, a two-time St. Louis Theater Circle awards nominee, for “Tribes” in 2018 and “Photograph 51” in 2020, is endearing as reserved U.S. Army Captain Jack Ludwig, stationed at a military hospital in Oregon, who writes a formal letter to Louise Rabiner, an aspiring dancer and actress in New York City, because his father suggested it. The dads know each other.

Ryan Lawson-Maeske. Photo by Jon Gitchoff

From her first response, it’s clear that Louise is a live wire, with a flair for the dramatic, and is without a filter in her missives. Webster Conservatory graduate Molly Burris seamlessly projects the Brooklyn-born chorus girl’s curiosity, grit, and sunny nature.

The outgoing Louise coaxes the more introverted doctor to share more about himself, and gradually he opens up. Thus begins a long-distance friendship that eventually turns into love over the course of several years, — 1942-1945, to be exact.

As the war escalates, so do Jack’s duties and thus, his presence in increasingly dangerous situations, as he is sent to the European front before they’ve had a chance to meet. His optimism has dissipated as he treats injured soldiers, and while Louise’s spunkiness keeps his spirits up through her caring, cheerful words, this is a love story set against the front lines of war.

As young people in their 20s, the two find common ground as pen pals, sharing their innermost thoughts and feelings. One of the warmest, most humorous exchanges is Louise’s adventures meeting Jack’s parents, his sister Betty, and his mother’s many sisters in his hometown of Coatesville, Pa.

Louise’s accounts of her audition successes and disappointments are vivid, and Jack’s frustration at not being granted a leave so they can finally meet to fulfill their plans for dinner and a show – and dancing – is palpable. Those plans keep being delayed, even by virtue of the story that we know has a happy ending, building suspense and tension as time passes (or runs out).

Before personal ads, email, texts and dating apps, people often met through acquaintances. Letters were the most common way to communicate across the miles – and have been explored eloquently in many pop culture hallmarks, like Ken Burns’ Civil War documentary, the James Stewart-Margaret Sullavan romantic comedy “The Shop Around the Corner” (remade into “You’ve Got Mail” with Tom Hanks and Meg Ryan in 1998) and the true-story based “84 Charing Cross Road” starring Anthony Hopkins and Anne Bancroft in 1987.

Quaint by today’s standards, “Dear Jack, Dear Louise” is a sentimental journey that evokes warm memories of family members who developed similar relationships. My parents first met at a local teen hangout, then wrote letters when my dad was on a naval ship in the Pacific Ocean during the Korean War and married upon his return.

Jack and Louise are relatable, therefore we maintain interest – but that’s largely in part because sparks fly between Lawson-Maeske and Burris as they are in their rooms, no small feat. You can feel the anticipation of receiving a letter, the exhilaration after the mail arrives, and how worried Louise is when she doesn’t hear from Jack while he’s treating the wounded at other locations.

Dunsi Dai’s scenic design creates a character-driven tableau through their living quarters – conveying that he’s fastidious and she’s flamboyant. He effectively contrasts Jack’s austere military barracks with Louise’s colorful, cramped boarding house room. Vintage posters of plays and movies further enhance the old-timey ‘40s feel. To move our eyes upward, Dai has hung some of their outfits.

Molly Burris. Photo by Jon Gitchoff

The technical elements are topnotch, with Amanda Were’ sound design setting the mood with retro Big Band music and creating harrowing war action through battlefield action. Daniel LaRose’s lighting design is warm and welcoming, and Michele Friedman Siler’s period costume design successfully captures the character’s personal style.

The play’s lyrical qualities are no coincidence. Ludwig, who studied music at Harvard with Leonard Bernstein, has written the smash-hit farce “Lend Me a Tenor,” nine-time Tony Award winner in 1989 and its revival in 2010, as well as the book for the Gershwin musical “Crazy for You” in 1992 and the hilarious comedy “Moon Over Buffalo” in 1995. All are set in showbiz in another decade, so he is comfortable in the World War II setting. Ludwig is a two-time Olivier Award winner, by the way.

By drawing from hundreds of letters between his mother and father, Ludwig has found the poetry in basic connection, which is timeless and also couldn’t be timelier. The well-constructed play premiered in December 2019 – you know, the Before Times – right before the world turned upside-down. If ever a contemporary work of art tapped into ordinary people having simple yet profound daily experiences to remind us of what connects us all, it is this show.

“Dear Jack, Dear Louise” delivers a joyous show, with just two people reading letters to create an honest, heartfelt moment. Expect that tears will come – get that tissue ready.

New Jewish Theatre presents Ken Ludwig’s “Dear Jack, Dear Louise,” from June 9 through June 26, with performances on Thursdays at 7:30 p.m., Saturdays at 4 p.m. and 8 p.m., and Sundays at 2 p.m., at the Wool Studio Theatre at the JCCA’s Performing Arts Center, 2 Millstone Campus Drive. For more information, call the box office at 314-442-3283 or visit newjewishtheatre.org