By Lynn Venhaus
Managing Editor
Passion drives the characters and the R-S Theatrics production of a miraculous
little musical that has something to say. The title “A Man of No Importance” is
a misnomer, for Alfie Byrne is a remarkable human being whose significance is mirrored
in the faces of his fellow Dubliners.
In a blockbuster musical theater climate that regularly serves feel-good fluff and
spectacle, Broadway heavyweights Lynn Ahrens and Stephen Flaherty wrote pensive
Irish-inflected music and lyrics and four-time Tony-winning playwright Terrence
McNally penned the book for a heartfelt rumination on friendship, acceptance,
creative expression and social mores for a 2002 Lincoln Center production.
This unconventional off-Broadway diamond in the rough feels like a pot o’ gold
discovery today. McNally, whose bold work on gay themes has been heralded
worldwide, adapted the 1994 film “A Man of No Importance” starring Albert
Finney into an introspective work of substance, a fanfare for the common man with
wry humor and touching moments.

Unlike the grand ambition of their masterpiece “Ragtime,” McNally,
and Ahrens and Flaherty, through their songs, give meaning to modest people and
their small-scale dreams and desires. And it’s in a specific setting – a working-class
Dublin parish in 1964, with quaint characters, during a time of innocence as
the world is changing.
With grace and laser-focus, director Christina Rios has created a cozy setting
that feels like the earnest characters are in your living room, that they are
part of your daily life and live next door.

“A Man of No Importance” at R-S TheatricsThe snug space gives the top-flight cast an opportunity to
gel like a community – the way an amateur theater group does, how church parishes
do, and why co-workers, pub mates and newcomers connect. You feel their moods,

Good-natured Alfie Byrne (Mark Kelley) is a bus conductor
by day, with a poet’s soul, and a creative force at night. Inspired by his
mentor Oscar Wilde, he fervently directs the St. Imelda’s Players, coming alive
fired up by art.

While kind and outgoing, he is also forlorn, a square peg
trying to fit into a round hole, as Alfie is a closeted homosexual when it was
still a crime in Ireland.

At home, he lives with his surly sister Lily (Stephanie
Merritt), who finds his hobbies peculiar, particularly his penchant for making
foreign dishes for dinner distasteful – Bolognese sauce, curry? She has decided
not to marry until he does, which adds to her exasperation. Merritt’s strong vocal
prowess is displayed in “The Burden of Life” and the touching ‘Tell Me Why” in
second act.

Stephanie Merritt and Michael B. PerkinsHer blustery steady beau, Carney (Michael B. Perkins), is the neighborhood butcher. Quite a ham on stage, he leads his enthusiastic castmates in the upbeat “Going Up!” – a fun song any thespian can identify with, setting the stage for the rehearsals to come.

But in an ugly character development, Carney also thinks it
is his moral duty to make the local church aware they are putting on “pornography,”
for he is appalled at Alfie’s choice for the next production – Wilde’s controversial
“Salome,” based on the tragic Biblical characters.

Miffed that he’s not the lead, Carney riles up the ladies’
sodality while the rest of the troupe are trying to find a way to costume the
seven veils and paint a realistic dummy head of John the Baptist. He wraps his
thoughts around it in “Confusing Times.”

Perkins has several stand-out songs, including the dandy comical
duet with Merritt, expressing outrage about Alfie’s proclivities “Books.”

Perkins also doubles as the flamboyant Wilde in dream
sequences, handling both with aplomb.
While Father Kenny (Dustin Allison) is shutting down the program, the church
hall teems with cast members, and we are introduced to a quirky assortment of folks
in this interesting patchwork quilt of a show.

Alfie loves these people. They’re home. They’re his “other”

Lindy Elliott as AdeleThere are the housewife diva-wannabes who flutter about him
– Miss Crowe (Kay Love), Mrs. Curtin (Nancy Nigh), Mrs. Grace (Jodi Stockton)
and Mrs. Patrick (Jennifer Theby-Quinn). Besides Carney, on the men’s side is
widowed Baldy (Kent Coffel), Rasher Flynn (Marshall Jennings) and Ernie Lally
(Dustin Allison).

All gifted singers, they are outstanding in the ensemble
numbers “A Man of No Importance,” “Our Father,” “Art” and several reprises. Nigh
has fun carrying out Naomi Walsby’s tap choreography in “First Rehearsal.”

Alfie has a secret crush on his co-worker, bus driver Robbie Fay (Kellen Green). He’d like to cast him as John the Baptist but Robbie’s not convinced. A lovely young woman, Adele Rice (Lindy Elliott), is new to town, and Alfie’s inspiration to tackle his mentor’s masterwork. Could she be his “Salome”?

Elliott, very impressive in this key role, sweetly sings a
reprise of “Love Who You Love,” and she and Kelley have a touching song
together, “Princess.”

Kellen Green as Robbie

As the handsome, conflicted Robbie, Green is terrific, trying
to find his way — and has a secret too. He robustly delivers “The Streets of
Dublin,” one of the show’s best numbers, and has a moving duet, “Confession” with
Kelley. He shows his prowess on the violin and in a reprise of “Love Who You
Love” as well.

Another highlight is Kent Coffel’s tender rendition of “The
Cuddles Mary Gave,” as the character Baldy mourns his late wife.

Anchoring the whole shebang is Mark Kelley, a revelation as
Alfie. He understands this sensitive soul and his pain. He imbues Alfie with so
much conviction that his bittersweet songs, “Love’s Never Lost” and “Love Who
You Love” are affecting and the triumph of “Welcome to the World” is

As the dialect coach, sound designer and fight
choreographer in addition to the lead, Kelley has galvanized this production.
The fight is realistic thanks to assistant fight choreographer Rhiannon Skye
Creighton and Perkins as fight captain.

The Irish accents are spot-on and never waiver – kudos to
the cast’s commitment on getting it right. It makes a difference setting the
proper tone, and the lived-in quality of the production is noteworthy.

Kent Coffel and Mark KelleyThe orchestra is very much a key part of the production,
and not just because conductor Curtis Moeller doubles as a character, Carson.
The cast interacts with them and vice versa, and they excel at giving an authentic
Celtic sound to the score. Moeller is on keyboard, with Benjamin Ash on bass,
Twinda Murry and Hanna Kroeger playing violins, Emily T. Lane on cello, Adam
Rugo on guitars and Marc Strathman on flutes. They achieve a lush sound that piquantly
flavors the show.

Amanda Brasher’s costume designs are a treat. She nailed the characters perfectly, from vintage frocks to the nubby knit sweaters to the assortment of hats defining personalities. Stockton’s Mrs. Grace wears a stunning ballet-slipper pink lace two-piece suit straight out of Jackie Kennedy’s closet.

The musical is a slow simmer but worth the investment as the sympathetic characters ripen. While the story spotlights a different time in another country, it illustrates the universal social awakening that “Love is Love is Love.” And being accepted for who you are is a worthy topic no matter when or where.

R-S Theatrics’ “A Man of No Importance” is to be admired
for its wholehearted mounting of a little-known show, illuminated by a talented
group of performers who feel like family at the finale.

Jodi StocktonR-S Theatrics presents “A Man of No Importance”
Fridays and Saturdays at 8 p.m. Sundays at 7 p.m., Aug. 9 – 25, at the Marcelle
Theatre, 3310 Samuel Shepard Drive in Grand Center For more information or for
tickets, visit
or call 314-252-8812.

By Lynn Venhaus
Managing Editor
Something so simple yet so profound, “Every Brilliant Thing” harnesses the euphoria of a fresh outlook, the childlike wonder of a new discovery and the bittersweet touchstones of love, loss and laughter.
This bracing 65-minute monologue mixes comedy and tragedy into a potent aperitif, for this timeless message is especially poignant this holiday season.
The narrator is the adult daughter of a mother whose chronic depression altered her emotional development and life perspective. She was 7 when her mother first attempted suicide.
In the intimate setting of the Kranzberg Arts Center black box theater, Nancy Nigh takes us on the narrator’s heart-wrenching and humorous personal journey through the lens of her own creative balm.

It started as a child’s sunny list of life’s very best offerings to cheer up her despondent mom — 1. Ice cream, 2. Water fights, 3. Staying up past your bedtime and being allowed to watch TV, 4. The color yellow, and so on. Then turned into a lifeline, a burden and a security blanket during adolescence, college, marriage, bumpy roads and eventually, peace and acceptance.
The list is as broad as 11. Bed and 1006. Surprises – who can argue, right? – and as specific as 2390. People who can’t sing but either don’t know or don’t care and 1654. Christopher Walken’s voice.
The list eventually grew to a million, with entries as clever as 123321. Palindromes, as funny as 7. People falling over, as adorable as 575. Piglets, as pleasurable as 9997. Being cooked for, and as nostalgic as 315. The smell of an old book.
It’s quite a feat. And compulsive list-makers can identify, as well as people who feel helpless when they can’t protect, control or prevent family members from harm.
Alone surrounded by the audience, Nigh is crucial to the mood. To make us comfortable, she must be both vulnerable and strong, relaxed yet firm.
After all, the rollercoaster ride of emotions will affect us in a deeply personal way – and she must be a safety net. And vice versa — we’re hers.
Audience interaction and participation are essential elements that keep the one-woman show unpredictable and improvisational.
The one-act play was first produced in England, at the 2013 Ludlum Fringe Festival, and started out as a short story called “Sleevenotes” by Duncan McMillan. For the stage, he involved comedian Jonny Donahue, who was filmed for the 2016 HBO presentation.
The play’s specialness is its authentic lived-in quality, mixing the merry and the morose in such a way to connect us all.
Free of any artifice, Nigh guides us without missing a beat. The narrator is not merely reciting a litany of her favorite things, therefore we tag along through key turning points in her life.
The narrator becomes the director, telling a few people what to say and where to move. Some are just called on to read list entries. Nigh does so effortlessly, with an easy charm.
She also conveys the narrator’s bravery, for the hardest things to talk about are things we should talk about – and this play allows us to, for catharsis can come out of crushing sadness. She has earned this accomplishment.
Director Tom Kopp keeps Nigh on the move, so she’s not for long in any one corner. The staging is in the storytelling. Taking part is very natural – not awkward or embarrassing, or cringe-inducing.
A nice touch is how important music is to the people in the story, from her father’s influential record collection to the sublime sounds of Curtis Mayfield’s “Move on Up.”
McMillan’s descriptive writing has woven in research about clinical depression, and the shadow of suicide lingers. As heart-wrenching as it is humorous, the play has an ebb and flow, not unlike the song ‘Sunrise, Sunset.”
Yet it never feels less than real, and there is no sugar-coating. If it triggers anything, an usher lets you know beforehand that it’s OK to leave for a bit.
In an uplifting and inspiring way, the play urges us to celebrate the small pleasures of life. Now. Don’t wait for moments – let them in, be open to them.
How can you not smile at 521. The word plinth, or 536. Winning something?
“Every Brilliant Thing” is a comforting and joyous reminder of the random moments that make a life.
Above all, this R-S Theatrics’ presentation stresses kindness. Above all, kindness. We know that this play hits too close to home for so many. We all want to say things may not always be brilliant, but they do get better – before it’s too late. The program includes information on CHADS Coalition for Mental Health, resources, crisis hotline numbers and tips.
R-S Theatrics presents “Every Brilliant Thing” Nov. 16 – Dec. 2, Friday and Saturday at 8 p.m. and Sunday at 7 p.m. in the Kranzberg Black Box, 501 N. Grand Blvd. For tickets, visit. or call 314-252-8812.