LaBute New Theater Festival Offers Clever One-Acts That Resonate

LaBute New Theater Festival Offers Clever One-Acts That Resonate

By Lynn Venhaus
A walrus and a manatee walk into a polar bear’s bar that’s a comical rant. There is trouble in paradise between Adam, Eve, God and Satan. A mother and a daughter square off, a coach and a parent exchange words, and a married couple share their rocky heart-tugging journey.

A range from savvy farce to poignant drama, this year’s 10th annual LaBute New Theater Festival’s line-up stresses shared humanity in five strong complete-thought one-act plays that press different emotional buttons.

Every year since 2013 – when live theater could be presented, St. Louis Actors’ Studio has collaborated with playwright, screenwriter and film and theater director Neil LaBute to support new works from across the country.

LaBute not only lends his name, but he is part of a 10-member panel that selects the plays from a vast number of submissions, often emerging voices. The company provides the resources for local presentations.

In years’ past, selections have included some edgier and esoteric works, but this current slate is as relatable as it is affecting – and still in a thought-provoking way.

However, typical topics like politics, the state of the world or a dystopian future are not on this roster.

It may not be intentional, but I detected a unifying theme between the five — wrestling with demons and doubts, and addressing elephants in the room, all in compelling contemporary presentations. After all, there is more commonality than differences among us, as the arts frequently point out.

Lorelei Frank, Greg Hunsaker and Tyler Crandall in “Grief & Woe.” Photo by Patrick Huber.

All five are particularly suited for The Gaslight Theatre’s black box stage intimacy, and in keeping with the festival’s rules, plays can only have up to four characters.

LaBute contributes a world premiere one-act every year. This year’s original presents a view askew of sports at young levels. Although not specified, I surmised it was a summer squad aka “Little Leagues” or those between school leagues, like American Legion and ‘select’ teams.

Called “Who’s on First?”, this uncomfortable exchange between a baseball coach and the parent of a player whose skills are lacking is entirely plausible.

A rueful commentary on how we got here, LaBute’s razor-sharp rhythmic dialogue is superbly delivered by Chuck Winning as the coach (Abbott!) and Anthony Wininger (Costello!) as the father.

As they painstakingly reveal motivations, they re-affirm the present-day stakes matter-of-factly. The scene, which opens the second act after a 15-minute intermission, takes place in a dugout, and is shrewdly directed by Kristi Gunther, the current production manager at St. Louis Actors’ Studio.

She and Spencer Sickmann, a veteran performer who took a couple years off for a personal-life break, has returned to tag-team directing this program.

Previously, he had acted in two earlier new theater festivals, and in leading roles in LaBute’s “Comfort,” St. Louis native Beau Willimon’s “Farragut North,” and St. Louisan Cory Finley’s “The Feast,” among others.

Hunsaker, Anthony Wininger and Crandall. Photo by Patrick Huber.

Gunther assuredly guided two conflict pieces – a wacky one that escalated, called “Walrus,” and a somber two-hander that came to a resolution, in “Cage.”

Sickmann perceptively helmed the opening kick-off, a bracing battle of the sexes featuring a fractured relationship between the first man and first wife, Adam and Eve. Quick-witted dialogue by playwright Paul Bowman of New Albany, Ind., makes “Grief & Woe” an interestingly observed relationship study, interrupted by God’s rules and Lucifer’s interference.

The Garden of Eden resembles a battleground like “Men are from Mars; Women are from Venus.” The not-so-happy bickering couple is tested by a seductive, slithery serpent, ‘just call me Lou,’ played slyly by Winning, affecting a devil-may-care attitude and dominating the stage.

A benevolent but exasperated “Mr. G” is humorously fleshed out by Greg Hunsaker as a cross between a Borscht Belt comedian – think “Your Show of Shows” sketch – and a ‘60s sitcom boss.

It’s a clever albeit lighthearted scenario, with impressive new-to-Gaslight-stage Tyler Crandall as an inattentive Adam and Lorelei Frank as a frustrated Eve

The festival is usually modestly presented, with simple, functional staging by set designer Patrick Huber, who also astutely augments each scene as lighting designer. With distinctive outfits and props, production values are elevated this year by costume designer Abby Pastorello’s outstanding choices and Emma Glose’s props.

Pastorello’s slick attire for Winning as “Lou” is a sensational assortment of pieces including a shiny carnival barker’s jacket, brocade vest, lime green shoes and a gold-plated leaf barrette for his deceptive wig.

To easily alter appearances of actors comically portraying North Pole wildlife in the act-one closer, “Walrus,” she chose whimsical noses, ears and ‘hands’ so that it’s obvious Wininger is an obnoxious blowhard walrus, Crandall is the more agreeable, timid manatee and Hunsaker is the no-nonsense proprietor of the drinking establishment where they regale each other with tales of life in arctic waters.

Gunther directed as if they could be super-fans knocking back a drink in a Chicago sports bar, and the trio has fun with the goofy premise. The cagey play was written by Brandt Adams of Brooklyn, N.Y.

A complicated relationship between a mother and daughter is depicted in an argumentative “Cage” by Barbara Blatner of New York. The pair, deftly played by Jane Paradise (Bobby) and Frank (George), must consider the other person’s pain and come to an understanding.

Using the miserable girl bringing home a wild snake as a pet, it’s a metaphor about the things that hold us back and move us forward, and the women strike the right tone.

Hunsaker and Jane Paradise. Photo by Patrick Huber.

In one of the saddest and hardest-hitting one-acts ever presented, “Love in the Time of Nothing” chronicles a marriage from courtship through loss, as a couple grapples with the husband’s early-onset Alzheimer’s Disease.

Playwright Jayne Hannah of North Providence, R.I., accurately reflects the rollercoaster life after a dementia diagnosis changes everything for a husband in his 50s and a wife in her 40s.

If you have family experience with this disease, you will recognize all the symptoms, treatments, roadblocks, and the heartbreaking decline of a once-vibrant mind and the unrelenting burden placed on caretakers.

Hunsaker, as David, and Paradise, as Julieanna, masterfully interpret Hannah’s literate and lyrical prose, conveying the ecstasy and agony of a serious commitment.

These parts are demanding of the actors, and their proficiency makes an impact. This one lingers, and it was a wise choice for the finale. Sickmann presents both the hope of good times and the tragic realization of never-ending sad times with inevitable anguish.

This year’s festival is smoothly executed, intellectually nourishing and engaging in unexpected ways. The best part, besides being a splendid showcase for high-caliber performers, is that it surprises with its empathy.

The needle drops are particularly affecting, so kudos to whoever selected the music. Pastorello also effectively managed wigs, hair and makeup.

Special shout-outs to stage manager Amy J. Paige and her assistant Collin Brinkley for their unflagging efforts to keeping the pace from sagging, and their ninja staff for quick set changes.

To celebrate a decade of this fruitful collaboration, STLAS has published a book, “Unlikely Japan and Other Plays: Ten One-Acts from Ten Years of the LaBute New Theater Festival,” that features ten pieces by LaBute that were created and staged exclusively by STLAS at The Gaslight, 59E59 Street and Davenport Theaters.

The book is currently available on Amazon and can be ordered directly from St. Louis Actors’ Studio. It is also available at the box office during this show’s run.

Frank and Paradise. Photo by Patrick Huber.

St. Louis Actors’ Studio presents the 10th annual LaBute New Theater Festival July 12 to 28, with performances at 8 p.m. Thursday through Saturday and at 3 p.m. on Sundays for July 18-21 and July 25-28, but only Friday-Sunday July 12-14 at The Gaslight Theater on North Boyle in the Central West End. For more information: www.stlas.org

General admission tickets are available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email help@stlas.org.

A playwright reception will be held on July 19 to celebrate the artists’ work, giving patrons an opportunity to learn and understand the stories they’ve just digested.

‘Something Old Something New’ in St. Louis Actors’ Studio’s 17th Season

‘Something Old Something New’ in St. Louis Actors’ Studio’s 17th Season

February 2025 will mark the beginning of St. Louis Actors’ Studio’s 17th season, themed “Something Old Something New.” The season includes productions of Eugene O’Neill’s masterwork “Long Day’s Journey Into Night,” to be directed by renowned theater artist Austin Pendleton, and a new work by playwright Carter W. Lewis starring local legends Whit Reichert and Donna Weinsting.

“We are very excited about the offering for our 17th season, and to be working with Carter Lewis and Austin Pendleton again,” says William Roth, Founder and Artistic Director. “Carter’s plays have been featured in our LaBute Festival and Austin has come to STLAS to teach master classes.”

Austin Pendleton

Long Day’s Journey Into Night
By Eugene O’Neill
Directed by Austin Pendleton
February 7-23, 2025

O’Neill’s autobiographical masterwork, winner of the 1957 Pulitzer Prize for Drama, is an unflinchingly honest portrayal of addiction in a dysfunctional Connecticut family, and will be directed by STLAS friend and Broadway actor/director Austin Pendleton.

“A magnificent and shattering play.” – New York Post
“O’Neill’s masterpiece… What never ceases to astonish is the dizzying emotional contradiction of O’Neill’s characters. Within a tight classical structure, they bounce around like pinballs between reality and illusion.” – The Guardian
“A stunning theatrical experience.” – New York Herald-Tribune
“O’Neill’s most beautiful play.” – New York Daily News 

Donna Weinsting

With
By Carter W. Lewis 
Directed by Assoc Artistic Director Annamaria Pileggi
April 4-20, 2025 
Starring:
Whit Reichert* and Donna Weinsting*

Whit Reichert

Clifford and Minnie devolve into a world of humorous, but ultimately heartbreaking minutiae as they navigate a blizzard, a dead son, a rat in the kitchen and worse; in order to hold on to a bit of control over their personal end of life decisions.

The couple enlists their derelict son to obtain Death With Dignity drugs from the state of Oregon, but due to an accident on the highway, the plan goes hysterically and tragically array. As a result, Minnie and Clifford cling to daily tasks as they slowly get cut off from the world by a blizzard and disconnected utilities. Their enduring love fuels them through an obstacle course of each day’s events.

11th Annual LaBute New Theater Festival
July 11-27, 2025

Tony Nominated Playwright Neil LaBute returns to host his award winning One Act Festival.

*Member Actors’ Equity Association

ABOUT ST. LOUIS ACTORS’ STUDIO

St. Louis Actors’ Studio is one of the leading professional theatres in the St. Louis. area, producing a four-show season of plays at our 97-seat Gaslight Theatre. STLAS collaborates with renown director, screenwriter and playwright Neil LaBute to produce the LaBute New Theater Festival each July in St. Louis and each January in New York City. The festival is a one-act play competition for emerging professionals and high-school writers. For more information and ticket sales, visit stlas.org.

Ten One-Acts from Ten Years of The LaBute New Theater Festival

Ten One-Acts from Ten Years of The LaBute New Theater Festival

St. Louis Actors’ Studio Releases Book “Unlikely Japan and Other Plays”

 St. Louis Actors’ Studio (STLAS) and esteemed film director, screenwriter and playwright Neil LaBute have published a new book, “Unlikely Japan and Other Plays: Ten One-Acts from Ten Years of the LaBute New Theater Festival.” Since 2014, STLAS has worked with LaBute to produce the annual festival bearing his name celebrating new works by emerging professional and high school playwrights, as well as a new piece penned each year by LaBute himself.

In honor of a decade of this successful collaboration, the book features ten one-act plays by LaBute, created and staged exclusively each summer by STLAS at The Gaslight Theatre in St. Louis. The festival has also had successful runs in New York City at the 59E59 and Davenport Theatres.

“The ten shorts contained in this volume are quite diverse, from comedy to drama, from dialogue to monologue, and all written with a passion for the actors who would go on to breathe life into the many characters on display. It has been a great pleasure for me to work with William Roth and STLAS for ten years on this project and to spend time creating a collection of short plays, a form that is always a challenge but one that I both love and admire,” said Neil LaBute.

In subsequent printings, STLAS hopes to publish many more short plays by a variety of participating authors.

“I so value my 12-year creative relationship with Neil. Lending his name and talents to foster new works in the theater is just another example of his generosity and commitment to the arts, and we could not be more proud to host this ongoing event,” says William Roth, Founder and Artistic Director at St. Louis Actors’ Studio.

The book is currently available in electronic form for Kindle on Amazon. The print version will be available beginning on May 24 via Amazon and direct order from St. Louis Actors’ Studio. Email help@stlas.org to order direct.

LaBute and Roth will do a reading and book signing event at The Drama Book Shop in New York City on Wednesday, June 12 at 7:30 p.m.

The 10th Annual LaBute New Theater Festival is set to take place July 12-28, 2024 at The Gaslight Theater with featured plays to be announced in the coming weeks. Stay tuned to stlas.org for updates and ticket information.

About St. Louis Actors’ Studio

St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.

John Pierson, associate artistic director at STLAS, Neil LaBute and William Roth, artistic director STLAS. Provided photo.

Lissome Acting and Distinct Points of View Mark This Year’s ‘LaBute New Theater Festival’

Lissome Acting and Distinct Points of View Mark This Year’s ‘LaBute New Theater Festival’

By Lynn Venhaus

This year’s LaBute New Theater Festival dives right into blistering topical commentary on our great societal divide, and while “Safe Space” is one of the playwright’s sharpest one-acts in the fest’s nine-year history, the best play is about a troubled prizefighter who hasn’t been in the news for decades.

“One Night in the Many Deaths of Sonny Liston” by JB Heaps of New York City is a masterfully constructed conjecture about what might have happened the night the former heavyweight champion died on Dec. 30, 1970.

Both plays feature Reginald Pierre, who has frequently been a part of the festival since it began in 2013, and next to his outstanding work as Lincoln in “Topdog/Underdog” that same year, this is his finest hour, as Sonny Liston and as a theatergoer in “Safe Space.”

In a revelatory performance as Liston, Pierre conveys bravado, hurt, resentment, and toughness recounting how, as a celebrated and feared sports figure, he faded from glory as his bad boy reputation persisted.

Considered an outsider, his difficulties adjusting to fame, and those demands that led to his downfall are documented by Heaps in clever dollops of dialogue, as Liston opens up to a professional escort delivering a “Christmas present” from sordid types he does business with, at his home in Vegas.

While only hinted at, these presumed underworld figures are connected to a multi-state mob syndicate. All very shady, the real details are murky, and Heaps weaves a plausible tale because the tango Pierre does with Eileen Engel, playing this mysterious woman, is riveting.

With a world-weary air and looking glamorous in a glitzy evening gown, Engel’s smoothness makes us question whether she’s compassionate or has ulterior motives, and the more Liston spills the tea, what is her story?

As Pierre, who does not physically resemble an imposing boxer, skillfully peels back layers on Liston, he divulges a litany of hard-knock life injustices, his triumphs in the ring, and his torment over being blacklisted by the boxing establishment.

Eileen Engel, Reginald Pierre. Photo by Patrick Huber

Through exposition, Heaps shares key facts about one sharecropper’s son, born in Arkansas, an ex-con who knocked out Floyd Patterson, tussled with Muhammad Ali, hobnobbed with the rich and famous – and is included in the famous artwork on The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover. For real!

Thoughtfully directed by Kari Ely, she lets the drama unfold naturally while Pierre and Engel establish a rhythm, keep each other sharp, projecting both a mutual like and a distrust. It was one of the few plays in the line-up that was gripping until the very end.

The climactic impact is genuine, bolstered by the superb performances but also Heaps’ knowledge of the subject. A second-act playwright at 71, he retired from a television career as an executive producer for Showtime Sports where his shows on boxing won five Emmy Awards. (As they say, write what you know).

Liston’s death has remained suspicious for some 50 years, fueled by knowledge that he was a heavy drinker and used heroin. While no one knew for sure, his age was estimated at 40. His wife, Geraldine, whom he married in 1950, was from St. Louis and there visiting her mother over the holidays. She discovered his body about two weeks after authorities think he died.

Because Pierre gives emotional heft to a tragic, larger-than-life figure, you may want to find out more about the guy, nicknamed “The Bear,” and there is a 2019 Showtime documentary called “Pariah: The Lives and Deaths of Sonny Liston.”

Heaps’ play opens the second act, while “Safe Space” kicks off the presentation.

Engel, Anthony Wininger. Photo by Patrick Huber.

LaBute, the provocateur, through shrewd writing and supple performers, tackles the current state of “us vs. them,” the culture wars and racial friction in the U.S., in “Safe Space.” It is through the theatrical lens that he explores how we got to this point and is today’s state of outrage histrionic or necessary.

Here, he seats a privileged white woman (Jane Paradiso) next to a black theatergoer (Reginald Pierre) for a performance advertised as a special evening for African Americans to come together for this show, although they allowed others to purchase tickets too. The Man attempts to be polite in the shared space, but the Woman feels his agitation, and let the verbal sparring begin.

LaBute, the longtime playwright and screenwriter, has written a new work for every festival, and his highly verbal and rhythmic dialogue is well-suited for one of his favorite themes – political correctness. And add the divisive climate now infiltrating every aspect of daily life, and let the fur fly.

We’re at a point where any little thing we say — whether misunderstood, taken out of context, or deemed inappropriate, will be used against us in the public court of opinion. And is anyone really listening anymore or just shouting to be heard? “Safe Space” touches on all those notes.

The points of view here are strong, so if you wince at any confrontation, be warned. But it is a lively exchange that does come to some sort of truce. And a time capsule entry for 2023.

Paradise is captivating as a woman huffy about being perceived as entitled, but then demonstrating why one could understand that observation and Pierre easily throws shade with some glances and reactions, defensive about why he’s pitching a fit. Both are deft in their delivery, and John Contini astute in his direction of the rapid-fire, razor-sharp piece.

Laurel Button, Colleen Backer. Photo by Patrick Huber.

Like LaBute’s play, the others utilize the intimacy of the black box stage to their advantage. The festival features works that have up to four characters.

The other three dramas in the line-up this year include “The Blind Hem” by Bryn McLaughlin of Oregon, “DaVinci’s Cockroach” by Amy Tofte, and “The Mockingbird’s Nest” from Craig Bailey of Vermont.

I heard someone in the audience compare the offerings to a box of chocolates. The plays, always a mixed bag, are memorable when they are a touch strange and keep us off guard. Others prefer less edge, but different is better than staid.

In any case, the talent is usually affecting, and this year, the format lends itself to their particular strengths. Colleen Backer, who excels at portraying eccentrics, is a jittery scientist named Dana whose work destroys things. Perhaps she’s soulless, she seems guilty about the way her life has gone. Loathe to connection, she does engage with a staff member, Finn, who is having a bad day at an art museum in “DaVinci’s Cockroach.”

They talk about things trivial and big-picture, and you want to know more about the pair, to an extent. But hen Tofte just goes on for far too long. But Laurel Button is impressive as a kooky, colorful young woman for whom art brings joy.

“The Blind Hem” is a melancholy-tinged romance between a college professor and a former student – hence named after the ‘invisible’ stitches in a garment, and is one of those character studies where you have to read between the lines to fully grasp what is happening, and what transpired before we entered their cheap motel room. Anthony Wininger is Robert, a conflicted man fooling himself about life, while Eileen Engel is Kate, no longer in school but still naïve.

They’re fine, although unsympathetic, but does McLaughlin’s play say anything new or explore another facet of an illicit romance that we haven’t seen before?

“The Mockingbird’s Nest” takes on another familiar topic – an aging parent’s dementia but does so with a technological twist. We’ve wound up in the twilight zone, and that’s a clever aspect of Craig Bailey’s piece. But despite Backer and Paradise’s splendid portrayals, the play ultimately loses steam by not trimming what seemed to be a tacked-on ending.

The production crew is efficient in setting the scenes for each show, and Abby Pastorelli’s costume design nails each personality in a simple yet effective way. She also did the artwork shown, which is for sale.

A 10-member panel selects the plays from submissions across the country. It’s nice to see a rebound from the pandemic that halted theater, then delayed its reboot with those pesky variants.

The presentations offer food for thought, an opportunity to see something thought-provoking and watch local performers shine, but best of all, support new work.

Backer, Paradise. Photo by Patrick Huber

St. Louis Actors’ Studio presents the ninth annual LaBute New Theater Festival July 7 to 9, July 13-16, and July 20-23, with performances at 8 p.m. Thursday through Saturday and at 3 p.m. on Sundays at The Gaslight Theater on North Boyle in the Central West End. For more information: www.stlas.org

Ninth Annual LaBute New Theater Festival Celebrates Emerging Writers

Ninth Annual LaBute New Theater Festival Celebrates Emerging Writers

St. Louis Actors’ Studio (STLAS) is pleased to present its ninth annual LaBute New Theater Festival celebrating new works by emerging professional and high school playwrights July 7-23 at The Gaslight Theater. STLAS received hundreds of submissions worldwide and selected four to be produced on the stage at The Gaslight Theater, along with a brand new piece by esteemed film director, screenwriter and playwright Neil LaBute, for whom the festival and is named and who serves on its creative team. This year’s productions include the following works/playwrights:

§  The Mockingbird’s Nest by Craig Bailey of Vermont

§  One Night in the Many Deaths of Sonny Liston by JB Heaps of New York

§  Da Vinci’s Cockroach by Amy Tofte of California

§  The Blind Hem by Bryn McLaughlin of Oregon

§  Safe Space by Neil LaBute

“We are pleased to once again share the works of some of the country’s best emerging playwrights, as well as Neil LaBute,“ said William Roth, founder and artistic director of St. Louis Actors Studio. 

Shows will be performed on Thursday, Friday and Saturday evenings at 8 p.m. and on Sundays at 3 p.m. General admission tickets are $30 each plus fees, $25 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before show time. For more information, visit stlas.org or email help@stlas.org.

John Pierson, Neil LaBute, William Roth. Photo by Russ Rowland.

About St. Louis Actors’ Studio

St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression.

St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.

Nancy Bell and Chauncy Thomas in Carter Lewis’ “Percentage America,” which won Best New Play from the St Louis Theater Circle in 2018. Photo by Patrick Huber.

COVER PHOTO of Jane Paradise and Reginald Pierre in Neil LaBute’s “Safe Space” by Patrick Huber

Delayed Gratification: 8th Annual LaBute New Theater Festival Delivers First of Two Sets of Wonderful Acts

Delayed Gratification: 8th Annual LaBute New Theater Festival Delivers First of Two Sets of Wonderful Acts

By CB Adams
Before the lights dimmed and the 8th annual LaBute New Theater Festival began, this reviewer felt pity instead of anticipation – pity for the nine playwrights who had to endure a two-year, pandemic-induced delay for their works to be fretted and strutted upon the intimate performance space at the Gaslight Theater.

During the festival’s four-week run, the St. Louis Actors’ Studio presents two sets of five one-act plays selected in 2020 – a Whitman’s Sampler (something for everyone!) of short dramas. Each slate includes “St. Louis,” written by the festival’s founder and namesake, the Tony-nominated, acclaimed writer and director Neil LaBute.

Two years may have felt like an eternity to playwrights and public alike, but the first set of one acts, running from July 8–17, delivers a collectively gratifying experience resonating with relevance to the current zeitgeist.

The first set includes Aren Haun’s “What Else is New,” John Doble’s “Twilight Time,” Willie Johnson’s “Funny Thing,” and Fran Dorf’s
“Time Warp,” as well as LaBute’s “St. Louis.”

Experiencing this evening of one acts is like reading a short-story collection. You might not enjoy every play (not all in the first set are one-hit wonders), but taken together, they are engaging, thought-provoking and satisfying. When soliciting for one acts, the LaBute
Festival seeks plays that feature no more than four characters. They should be crafted specifically to exploit the Gaslight’s intimate, 18-foot square performance space with quick changes in scenery, setting and set moves.

For theater-goers who love plays that focus on the fundamentals of dramaturgy – plot, character and theme – the LaBute Festival is a must-see, based on this first slate.

The plays presented this year are diverse, yet share a common thread, if not a common theme, of human connectedness:

“What Else is New,” set in a diner, involves Bruno (and his suitcase), an unhoused loner (replete with an annoying need for conversation and more tics and twitches than Brad Pitt in the film “12 Monkeys”) and Mark, a disinterested college art student who works the counter. t’s a marvel to watch the two characters circuitously connect.

“Twilight Time,” concerns a chance encounter between Benjamin and Geraldine, two disaffected youths who discover they are both planning their suicides. Though not as humorously death-drenched as “Harold and Maude,” they connect over common political and other opinions and soon make plans to live, perhaps happily ever after.

“Funny Thing” is anything but funny as the four-month relationship between Older Man and Younger Man is stuffed into a blender and set to frappe. The resulting, non-chronological plot makes frequent pivots that are easy to follow, thanks to fine acting and effective lighting changes.

No one dances in “Time Warp,” but, as the song goes, “…With a bit of a mind flip / You’re into the time slip / And nothing can ever be the same…” For those of us who like stories that explore the possibilities presented by punctures in the time- space continuum, “Time Warp” delivers a mind-bending – and ultimately harrowing – tale involving Brian, a Vietnam War army psychiatrist, his wife, Beth, a curiosity shopkeeper, CG Young, and a specter-like painter and fellow soldier, Joey Passarelli. The warping of time and circumstance ensues, though not in a science fiction sort of way.

LaBute’s “St. Louis” (presented in both sets of the festival) could have been titled Stand and Deliver because that’s what this play’s three characters do: they stand and deliver (as does the entire play itself). St. Louis does not concern itself with Ted Drewes, the Arch or any other tourist destinations. There are a few compass- point references to St. Louis, such as the Central West End, but the true location
of this one act is the triangulated world and relationships of the three monologists, She, Her and Him. The climax of the relationship – the connection – among these characters is too good to spoil.

But, climax aside, the most noteworthy achievement is how the story is unfolded by the three characters, each in a pool of
light and each speaking as if to their own offstage interlocutor. Separately, and yet collectively, they stand and deliver their part of a shared, very personal history. Under the deft direction of Spencer Sickmann (himself a seasoned actor), the actors collectively embrace their characters and deliver these short plays with confidence, believability and chemistry.

And, in the case of “Twilight Time,” they surpass the play itself. Mitch Henry Eagles plays triple duty in “What Else is New,” “Funny Thing” and “Time Warp.” All are fine performances, but the standout is as the Younger Man in “Funny Thing.” His character is whiplashed by the on-again/off-again relationship he shares with Older Man and Eagles easily flips between “should I stay” or “should I go?”

Bryn McLaughlin does double duty as Geraldine in “Twilight Time” and She in “St. Louis.” Her performance in the former is the strongest in that play, and in the latter, she’s even better as she projects a strong, confident counterpoint to the bro-ish Him. As Him, Brock
Russell plays a character one loves to hate, or vice versa, and that dichotomy is testament to his ability to fully reveal the complexities of Him.

Eric Dean White demonstrates tremendous range playing the twitchy chatterbox Bruno in “What Else is New” and, a couple of one acts later, as the sensitive psychiatrist and husband in “Time Warp.” The nervous energy he pours into his Bruno is as exhausting as it is exhilarating.

In the case of these one acts, to call the sets, lighting and costumes bare bones is a compliment. As in most literary short stories, there’s nothing extraneous and everything must serve a purpose in black-box one acts. In this first slate of plays, that’s exactly what Patrick Huber achieves with the flexible sets and lighting, as does Carla Landis Evans with the costume designs.

Set One of the LaBute New Theater Festival runs July 8-17 at at the Gaslight Theater, 358 N Boyle Ave. Set Two runs from July 22–31. Times are 3 p.m. on Sundays and 8 p.m. Friday and Saturday. For more information, www.stlas.org
All photos by Patrick Huber

Bravura Performances Mark Fierce LaBute World Premiere of ‘Comfort’

Bravura Performances Mark Fierce LaBute World Premiere of ‘Comfort’

By Lynn Venhaus

Jacqueline Kennedy once famously said: “If you bungle raising your children, I don’t think whatever else you do well matters very much.”

The cold-hearted Iris Banks (Kari Ely) apparently did not agree. She made a choice, to pursue a literary career first, leaving her husband and child. Now grown, her bitter and resentful son Cal (Spencer Sickmann) unexpectedly returns home, but he is not exactly welcomed like the Prodigal Son. And she is closer to “Mommy Dearest” than Mother Earth.

In an intense psychologically complex drama, “Comfort,” a fierce new work by renowned playwright Neil LaBute that is premiering at St. Louis Actors’ Studio (Dec. 3-19), two of our finest stage artists fearlessly tango.

There is much baggage to unpack as mother, now a literary titan – three Pulitzers! — and child, who is still finding his way, reveal their past and present relationship.

These fully dimensional roles are demanding and exhaustive, but brave Ely and Sickmann exhibit their stamina and superior skills at delivering such emotionally layered performances.

Awkward exchanges and pleasantries give way to an uneasy détente (short-lived), stunning disclosures (the hits just keep on coming) and blistering confrontations. They are two people on opposite sides of a great divide, a rift that has grown over time and still an open wound, for no healing was attempted.

At times, the icy Mom, who admitted she had no maternal instinct but attempted the wife-and-motherhood roles set forth in society, seems to thaw.  And son appears to soften his hostility, but those are brief respites from some harsh exchanges as Iris declares she is all about the “truth,” but son reveals he has evidence to the contrary.

The two performers wear their characters’ bravado like a badge of honor – until they don’t. Mom is unapologetic about her distain for literary rivals or for ‘normal’ trappings of family life – but occasionally, her steely demeanor will crack, showing us an inkling of regret.

It’s such a masterful portrayal by Ely, who has tackled her share of uncommon, tough females – including Martha in “Who’s Afraid of Virginia Woolf?”, Violet in “August Osage County” and Regina in “The Little Foxes,” all on the Gaslight stage.

And a never-better Sickmann plays Cal like a wounded animal, cornered but ready to pounce. Since bursting on the local theater scene about five years ago, he has capably delved into guys with an edge but also showing vulnerability – Mitch in “A Streetcar Named Desire,” Hal in “Picnic,” press secretary Stephen in “Farragut North” and artist Matt in “The Feast,” among them.

LaBute’s rhythmic dialogue has bite, and the pair show their verbal dexterity in meaty exchanges. Do not underestimate their ruthlessness.

LaBute, a prolific playwright and screenwriter who has made waves since the early 1990s, often writes characters that are schemers or callous, calculating ones who use people for their own advantage. They may not be likable, but they are survivors – and they are fascinating

One of LaBute’s hallmarks is that he will divulge character flaws in such a chilling way as to take a jarring and dramatic turn that changes the temperature in the room. He’s all about the gray area, never specifically black-and-white – and that’s what makes his plays so compelling.

Director Annamaria Pileggi keeps the unsettling narrative moving at a brisk clip, and Patrick Huber’s impressive set design efficiently uses the space to move the action forward. Fine work by Huber as lighting designer, sound designer Robin Weatherall, costume designer Teresa Doggett and fight choreographer Shaun Sheley.

Even with a lengthy run time, you still want to hear what Iris and Cal have to say to each other – and you’ll still be caught off-guard.

STLAS has collaborated with LaBute since 2012, mainly as part of the LaBute New Theater Festival, in which international one-act entries are selected to be part of two line-ups. He is a co-producer and often an active participant.

The previously unproduced plays must be 45 minutes or less, and not have more than four characters. They must be able to be presented in The Gaslight Theatre’s intimate space.The selected works are usually marked by sharp writing and smart acting.

And LaBute writes an original work to premiere every summer, which is included in both slates. A few of them have been dark and disturbing or acerbic, or both.

One of the festival’s components that LaBute is most proud of is the High School Play Competition, encouraging teenage writers to pursue playwrighting. The winning plays are presented as readings.

But this is the first time that LaBute is premiering a new two-act play separate from the annual summer fest.

The fest will return the summer of 2022. In the meantime, theatergoers can marvel at the riveting work by Ely and Sickmann, who bob and weave like pro athletes.

The ironically titled play, “Comfort,” may still be a work in progress, but it provides a bracing vehicle in which to show a delicate balance in a mother-son dynamic.

Spencer Sickmann and Kari Ely

“Comfort” is presented by the St. Louis Actors’ Studio at The Gaslight Theatre, 358 N. Boyle Avenue, St. Louis, Thursday through Saturday at 8 p.m. and Sunday at 3 p.m. Dec. 3-19. Tickets are available through Ticketmaster. For more information, call 314-458-2978 or visit www.stlas.org.

Proof of Vaccination Must Be Presented and a Mask Must Be Worn While in the Theater.

St Louis Actors’ Studio to Restart 14th Season in September

St Louis Actors’ Studio to Restart 14th Season in September

:September 2021 will mark the restart of St. Louis Actors’ Studio’s Fourteenth season themed “The Lost Episodes”.The world is finally returning to normalcy and with that, STLAS is excited to get back at it. Producing word-class, thought-provoking entertainment at our intimate Gaslight Theater. We cannot wait to see you in the fall! Season subscriptions are the best way to experience St. Louis Actors’ Studio–you get a discount and no-hassle ticket exchanges and reserved seat signage. Let’s come back strong – get a group together this season and make a year of it!Our 2021-22 season, “The Lost Episodes.”

“The Zoo Story/The Dumb Waiter”
by Edward Albee/Harold Pinter
Directed by Wayne Salomon, Starring William Roth*
September 17 – October 3, 2021
Classic early one act plays by two giants of the theatre.  Edward Albee and Harold Pinter.
THE ZOO STORY – A man sits peacefully reading in the sunlight in Central Park. There enters a second man. He is a young, unkempt and undisciplined vagrant where the first is neat, ordered, well-to-do and conventional. The vagrant is a soul in torture and rebellion. He longs to communicate so fiercely that he frightens and repels his listener. He is a man drained of all hope who, in his passion for company, seeks to drain his companion. With provocative humor and unrelenting suspense, the young savage slowly, but relentlessly, brings his victim down to his own atavistic level as he relates a story about his visit to the zoo.

“Edward Albee is a voice unparalleled in American theater.” —NY Times.
“The dialogue crackles and the tension runs high.” —Associated Press.
“Darkly comic and thrilling.” —Time Out NY

THE DUMB WAITER: As the New York World-Telegram & Sun describes: “In the basement of a long-abandoned restaurant, two hired killers nervously await their next assignment. Barred from daylight and living public contact by the nature of their work, they expend their waiting time in bickering. So eerie is the situation that everything becomes comic, or grotesque, or both. Ben re-reading a newspaper and exclaiming in disbelief over the news items, Gus fussing with an offstage stove and offstage plumbing. Ben bludgeoning Gus into silence if he as much as mentions their work. Gus worrying that someone had slept in his bed. So then the ancient dumbwaiter comes to life, the suspense becomes almost unbearable—that expertly has Pinter put the nerves of his characters and audience on edge.

“A distinguished gift for sheer, old-fashioned theatrical effectiveness, including the use of melodramatic suspense and the hint of sinister forces lying in ambush.” —NY Post Statesman

“Comfort”
By Neil LaBute
Directed by Associate Artistic Director, Annamaria Pileggi,
Starring Kari Ely* and Spencer Sickmann*
December 3 – December 19, 2021
A new play by STLAS friend and associate Neil LaBute in which a successful author and her son meet after some time apart and revisit their troubled relationship. What’s at stake? Whether or not the instinctive bond between mother and child can survive not just the past, but also two new book deals.

“Mr. LaBute is writing some of the freshest and most illuminating American dialogue to be heard anywhere these days.” —NY Times.

“No contemporary writer has more astutely captured the brutality in everyday conversation and behavior: That kind of insight requires sensitivity and soul-searching.” —USA Today
.
“It is tight, tense and emotionally true, and it portrays characters who actually seem part of the world that the rest of us live in.” —Time.

“Hand To God” by Robert Askins
Directed by Associate Artistic Director, John Pierson
Starring Eric Dean White* and Colleen Backer
February 18- March 6, 2022
After the death of his father, meek Jason finds an outlet for his anxiety at the Christian Puppet Ministry, in the devoutly religious, relatively quiet small town of Cypress, Texas. Jason’s complicated relationships with the town pastor, the school bully, the girl next door, and—most especially—his mother are thrown into upheaval when Jason’s puppet, Tyrone, takes on a shocking and dangerously irreverent personality all its own. HAND TO GOD explores the startlingly fragile nature of faith, morality, and the ties that bind us.

“The fearsome critter [Tyrone], who takes possession of a troubled teenager’s left arm in Robert Askins’ darkly delightful play really inspires goose bumps as he unleashes a reign of terror…But he’s also flat-out hilarious, spewing forth acid comedy that will turn those goose bumps into guffaws.” —The New York Times.

“Furiously funny…Askins’ most impressive talent is his ability to make us laugh while juggling those big themes that make life so terrifying: death, depression, alcoholism, sexual guilt, emotional repression, religious hypocrisy and the eternal battle between your good puppet and your bad puppet.” —Variety.

“A scabrously funny scenario that steadily darkens into suspense and Grand Guignol horror, this fiery clash of the id, ego and superego is also an audacious commentary on the uses of faith, both to comfort and control us.” —The Hollywood Reporter.

“I don’t know which I want to do more: Sing Hallelujah—or wash its dirty little mouth out with soap. …Clearly a singular vision is at work here, with playwright Robert Askins venturing successfully into territory—satire—rich with potholes.” —Deadline.

“HAND TO GOD is so ridiculously raunchy, irreverent and funny it’s bound to leave you sore from laughing. Ah, hurts so good.” —New York Daily News.

9th Annual LaBute New Theater Festival
July 8-31, 2022
A Celebrated month-long festival of world premiere one-act plays.

*Member Actors’ Equity Association

Click Here to download the order form! 

Take Ten with Cory Finley

Take Ten with Cory Finley

Writer-Director Helping Small Professional Theatre Sustainment Fund

By Lynn Venhaus
Cory Finley first came on my radar with “The Feast,” his original play that was produced by the St. Louis Actors’ Studio in fall 2017. Since then, he has received national acclaim for two films, “Thoroughbreds” and “Bad Education.” He is definitely one to watch.

Now he is giving back to the small theater company that gave him a shot by being one of the artists trying to help STLAS and others in St. Louis through the Small Professional Theatre Sustainment Fund. This was started to help these struggling companies pay their bills until they can safely re-open.

The coronavirus pandemic has threatened extinction for millions of small businesses all over the world, including theater companies, who will continue to be hit hard as they might not receive any funding in 2021, and if they do, it would be a small amount.

“The federal government has offered some help, but small professional theaters are not in line for major funding and the existing funding that relies on tax dollars is vanishing,” said William Roth, STLAS Founder and Artistic Director. “We decided to take matters into our own hands with the creation of the Small Professional Theatre Sustainment Fund and enlisted the help of well-known St. Louisans with careers in the arts.” 

By donating to the Fund, participants are automatically entered into a drawing to win a virtual hangout with Finley or other famous St. Louis artists Sterling K. Brown, Jon Hamm, Sam McMurray, Beau Willimon, or Neil LaBute (longtime friend of the St. Louis Actors’ Studio).

For every $75 donated to www.stlas.org/sustain, the participant’s name is placed into a drawing for 50 chances to win. The more a person donates, the better their chances are for winning. Contest ends Sept. 17 and the winner will be drawn on September 18.  

During the virtual meet-up, the winner will be able to discuss anything of interest with the artist—from acting tips and insights, to fans just wanting to spend a little quality time. Names will be drawn until all artists are spoken for. For official rules and regulations, please visit the FAQ page. Donations are tax deductible to the fullest extent allowed by law.

Finley wanted to get involved because he believes in their work and the mission they’re starting.

“I was lucky enough to have STLAS put on a production of my play ‘The Feast.’ I’m a huge fan of the work they’re doing and I’m very concerned about the health of theater in America generally in pandemic conditions. I think it’s a great initiative to help keep vital institutions alive,” Finley said. 

In a short-take review, I described the play this way: “One act, three actors, five genres, so says director John Pierson, who shrewdly realizes an eerie “Twilight Zone”-type mind game by Cory Finley of Clayton, Mo. The twisty-turny original play, only 65 minutes’ long, benefits from an accomplished trio of actors and Patrick Huber’s customary meticulous set and artful lighting design. Pierson’s crisp direction and keen sound design enhance the mysterious off-kilter quality.”

Pierson, a St. Louis actor, director and teacher, has been at John Burroughs School since 1993 and is chairman of the Theatre, Speech and Dance Department.

Finley, 31, a Burroughs graduate, is based in New York City, where he is a member of the Obie-winning Youngblood playwrights group at Ensemble Studio Theater. He received a commission from the Alfred P. Sloan foundation for playwrighting, and was the inaugural recipient of the Gurney Playwrights Fund for “The Feast,” which was presented first at The Flea Theater.

Three years ago this month, Finley’s play “The Feast” fit into the vision at The Gaslight Theatre, STLAS’ black-box home.

“STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. Through the use of ensemble work, STLAS explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre,” Roth said.

Finley received high praise for the film “Thoroughbreds,” which he adapted from his play and also directed. It was accepted for the Sundance Film Festival in January 2017, and nominated for the Audience Award in the Best of Next! competition. It played at the St. Louis International Film Festival that November. Sold to Focus Features for $5 million, the film opened in theaters in March 2018.

Finley wrote the crime-drama-dark comedy about two upper-class teenage girls in suburban Connecticut, who rekindled their unlikely friendship after years of growing apart. Then they hatch a plan to solve both of their problems — no matter what the cost. The cast included Anna Taylor-Joy and Olivia Cooke, and was the last film of Anton Yelchin, who died in a tragic accident at his home in June 2016. The film is dedicated to him.

Anton Yelchin, Cory Finley, Anya Taylor-Joy. Photo by

Indie Wire described the film as “Heathers meets American Psycho.” Rotten Tomatoes had a score of 86% and the critic consensus was: ” Thoroughbreds juggles genres with panache, delivering a well-written and refreshingly unpredictable entry in the teen thriller genre.”

In 2019, Finley scored a Film Independent Spirit Award nomination for Best First Screenplay for “Thoroughbreds.” The annual awards, held since 1984, honor independent filmmakers working with small budgets. For more information on the film, visit www.thoroughbredsmovie.com

Last year, Finley directed “Bad Education,” which was shown at the Toronto International Film Festival in 2019 and sold to HBO for $20 million. HBO aired it April 25 this year (Currently available in HBOMax catalog) and as of Sept. 8, it is available on DVD and Blu-Ray. It is also available for rental or purchase on streaming platforms.

“Bad Education” is nominated for two Emmy Awards — Best Television Movie and Hugh Jackman for Lead Actor in a Limited Series or Movie. The Emmy Awards are Sunday, Sept. 20.

The film, based on a true story, focuses on the popular superintendent of New York’s Roslyn school district as well as his staff, friends and relatives who become the prime suspects as the single largest public school embezzlement scandal in American history unfolds. Former Roslyn student Mike Makowsky wrote the screenplay based on the New York Magazine article “The Bad Superintendent” by Robert Kolker.

Finley said he was drawn to the script for several reasons.

“I thought the script had a really unique tone, a complex character at its center, and themes about greed, institutional failure and systemic corruption that spoke to me,” he said.

And working with the cast was a positive experience.

Jackman played Frank Tassone, who was sentenced to 4 to 12 years for the $11.2 million embezzling scheme, and Alison Janney played Pam Gluckin, an assistant superintendent who took part in the scheme.

“I was enormously lucky that my A-list cast all had the work ethic and humility of actors just starting off: particularly Hugh and Alison made my job incredibly easy and were intensely collaborative and open, as well as super-prepared,” Finley said.

He said he is not at liberty to divulge his next project just yet..

How has he been coping with the pandemic in New York?

“My partner is a medical resident who got pulled into the COVID ward right at the height of the pandemic, so I had a very intense view of the worst of it through her. But she’s now back home doing tele-health and things are much more normal,” he said. “I’m fortunate to have a job that I can do from home — the writing and prep parts of my job at least — and so I’m far less affected than many New Yorkers have been.”

What has he learned during this time of quarantine?

“It’s a total cliche, but I’ve learned how important a sense of social community is, and how badly we all need it back,” he said.

Cory FInley at Film Independent Spirit Awards. Photo by Kevin Mazur.

Q&A QUESTIONS FOR “TAKE TEN”
1. Why did you choose your profession? 
I always loved creating and managing made-up worlds: first pretend games, then Dungeons and Dragons, then school plays, then  directing film. 

2. How would your friends describe you?
Tall, polite, bad at remembering things, dad jokes, no sense of direction. 

3. How do you like to spend your spare time?
Playing basketball with great enthusiasm and minimal ability. 

4. What is your current obsession? 
Youtube chiropractic adjustment videos. Also, archived Firing Line videos of William F. Buckley debating prominent leftists of the 60s — Noam Chomsky, James Baldwin, Huey Newton. They show at once how far our politics have come and how little our discourse has changed. 

5. Who do you admire most?
In no particular order: Caryl Churchill, Alexandria Ocasio-Cortez, Lebron James. 

6. What is your favorite thing to do in the St. Louis Metropolitan Area?
Ted Drewes and the Tivoli Theatre.  

More to Know:
Name: Cory Finley
Age: 31
Birthplace: St. Louis, MO (Clayton, specifically)
Current location: Manhattan
Day job: Many years SAT/ACT tutoring
Favorite movies: Brief Encounter, There Will Be Blood

St. Louis Actors’ Studio Launches Small Professional Theatre Sustainment Fund

St. Louis Actors’ Studio Launches Small Professional Theatre Sustainment Fund

Will Help Struggling Arts Community in Wake of Global Pandemic

Donate for Chances to Win Virtual Hangouts with Sterling K. Brown, Jon Hamm, Beau Willimon, Sam McMurray, Cory Finley and Neil LaBute

The Coronavirus pandemic has threatened extinction for millions of small businesses all over the world, including many beloved St. Louis theater companies. In fact, local and regional arts commissions announced recently that many struggling organizations will not receive any funding in 2021, and those that do are expected to receive only a small percentage of what they have been granted in the past.

In an effort to help small professional theater companies in St. Louis as well as those across the nation to pay their bills until they can safely reopen, the St. Louis Actors’ Studio announced today the creation of the Small Professional Theatre Sustainment Fund.
“The federal government has offered some help, but small professional theaters are not in line for major funding and the existing funding that relies on tax dollars is vanishing,” said William Roth, Founder and Artistic Director of the St. Louis Actors’ Studio. “We decided to take matters into our own hands with the creation of the Small Professional Theatre Sustainment Fund and enlisted the help of well-known St. Louisans with careers in the arts.” 

By simply donating to the Fund, participants are automatically entered into a drawing to win a virtual hangout with such famous St. Louis artists as Sterling K. Brown, Jon Hamm, Sam McMurray, Beau Willimon, Cory Finley or Neil LaBute (longtime friend of the St. Louis Actors’ Studio).

For every $75 donated to www.stlas.org/sustain, the participant’s name is placed into a drawing for 50 chances to win. The more a person donates, the better their chances are for winning. The winner will be drawn on September 17.  

During the virtual meet-up, the winner will be able to discuss anything of interest with the artist—from acting tips and insights, to fans just wanting to spend a little quality time. Names will be drawn until all artists are spoken for. For official rules and regulations, please visit the FAQ page. Donations are tax deductible to the fullest extent allowed by law.

About the Participating Artists
Actor Jon Hamm is a John Burroughs grad best known for his Golden Globe and Emmy Award-winning role on “Mad Men.” He will star in the upcoming film “Top Gun: Maverick” in theaters this winter.See Jon Hamm’s video message here:https://vimeo.com/427780482

Sterling K. Brown is a graduate of MICDS and recent Golden Globe and Emmy Award winner for his work on NBC’s smash hit “This is Us.”See Sterling K. Brown’s video message here:
https://vimeo.com/429676164

A graduate of Washington University, character actor Sam McMurray has appeared in “Freaks & Geeks,” “Friends” and “Raising Arizona.”

Director and screenwriter Cory Finley is another John Burroughs alum. STLAS produced his play “The Feast” and he recently directed the film “Bad Education” for HBO.

Playwright, screenwriter and activist Beau Willimon is yet another John Burroughs alum, STLAS produced his play “Farragut North” (of which the movies “Ides of Mach” starring and directed by George Clooney is adapted.) He developed “House of Cards” for American television and was its showrunner. He most recently wrote the screenplay for “Mary Queen of Scots.”

STLAS Associate and Tony Award-nominated playwright and screenwriter Neil LaBute whose films include “In the Company of Men,” “Your Friends & Neighbors,” “Nurse Betty” and “The Shape of Things.” Neil hosts his “LaBute New Theater Festival” at STLAS’ Gaslight Theater in St. Louis each fall in in NYC periodically.

About the St. Louis Actor’s Studio

The St. Louis Actors’ Studio is a non-profit 501(c)(3) organization that was founded by William Roth in 2006 to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. Through the use of ensemble work, STLAS will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. To learn more or to make a donation, visit www.stlas.org/sustain. This program would not be possible without the generous support of Mr. & Mrs. Charles L. Barnes and John Russell.