Looking Back at 1964 and Talkin’ Baseball in St. Lou Is Hanrahan’s Insightful, Delightful One-Man Show

Looking Back at 1964 and Talkin’ Baseball in St. Lou Is Hanrahan’s Insightful, Delightful One-Man Show

By Lynn Venhaus

1964 was a memorable year for Americans. Still reeling from President Kennedy’s assassination, an escalating war in Vietnam and civil rights struggles, the U.S. was on the cusp of enormous change.

For teenage St. Louisans like Joe Hanrahan, it was an eventful time, especially that summer. The four lads from Liverpool rocked their world and they were ecstatic about the big bang of the British Invasion. The hometown Cards would make a mad dash for the pennant and face the Yankees in the World Series. And the coolest of the cool, Sean Connery as super-spy 007, was back on the big screen.

Hanrahan, a gifted storyteller, weaves his boyhood obsessions about baseball, The Beatles and James Bond into an entertaining and heartfelt amalgamation he wrote, titled “Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond.”

His memory play, presented by The Midnight Company, will evoke a sense of being there. Vividly capturing a moment in time, you can visualize a dusty ballfield, neighborhood buddies and their equal passions for rooting for the hometown team and going to the movies.

These are the quintessential boys of summer. Joe, who played baseball in four different leagues, recalls his carefree days playing pick-up ball with his pals and nights selling soda and popcorn at Sportsman’s Park..

Hanrahan, who has performed his share of quirky one-man shows over the past decade, walks down a memory lane that other generations can relate to – not just Baby Boomers. He originally wrote the show for the 2018 St. Louis Fringe Festival, and then expanded it beyond that festival’s one-hour time limit for this new presentation.

It is one of his most accessible works, and he’s completely at home on the intimate stage at The Chapel.

He draws us in by creating a specific sense of place, and how what was happening socially, politically and athletically affected these kids growing up in the city, as the ‘Lou was dynamically changing too.

And being teenage boys, enamored with a friend’s spirited recounting the entire experience of seeing the second Ian Fleming adaptation, “From Russia with Love,” the night before at the air-cooled Maplewood Theatre, is a major focus of this play. Rich in details, it’s riveting, as Hanrahan acts out the reminiscence, using Connery’s suave and debonaire demeanor, the beauty of Daniella Bianchi, and the exciting triumph over Spectre.

While Hanrahan showcases his raconteur skills, he offers copious amounts of interesting details – of the segregation issues across America, how Gussie Busch, who took over ownership of the Cardinals in 1953, led the way in integrating the team. Our Hall of Famers Bob Gibson and Lou Brock joined Ken Boyer, Dick Groat, Curt Flood, Julian Javier, Bill White and a young Mike Shannon in defeating the all-white Yankees dynasty in seven games.

Looking back, it was a seminal moment in American history, and Hanrahan credits David Halberstam’s book, “October 1964,” for the insight into race issues in Major League Baseball.

Hanrahan doesn’t shy away from mentioning the developing racial tensions and progress here either.

The reflections are palpable. He expresses the joys of a halcyon youth 57 years ago with panache, taking us back to the days of hi-fis playing 45s of “Can’t Buy Me Love,” “Twist and Shout,” “She Loves You,” “I Want to Hold Your Hand” and “Please Please Me” – the Beatles scored the top five positions on the Billboard Top 40 singles in America, an unprecedented achievement. Or the LP “Meet the Beatles,” which Joe hijacked from his sister.

The production is deftly directed by Shane Signorino, who has worked with Hanrahan before.

Video designer Michael B. Perkins has enhanced the one-man show with a cultural panoply of the sights and sounds of the day – the Fab Four, MLB players and the front office brass, and snippets of the Bond movie.

It’s a clever multi-media presentation. Kevin Bowman also provides crisp production and lighting design.

While he threads a boy’s look back, Hanrahan delivers dollops of theatrical wisdom. It is, after all, a work of theater – with drama and comedy.

A bonus is a magazine cover display in the lobby, courtesy of Redbirds fan George Venegoni.

Hanrahan has linked the time it was in an engaging way, guaranteed to produce smiles on a warm St. Louis summer night.

The show runs Thursdays through Saturdays at 8 p.m., July 8 through July 24, and a Sunday matinee at 2 p.m. on July 25, at The Chapel, 6238 Alexander. For more information: midnightcompany.com. Tickets available at metrotix.com.

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

By Lynn Venhaus

It is tempting to use food metaphors to describe “Feast.” After all, we are the invited guests at a banquet presided over by a glamorous and flamboyant hostess, who appears to be gracious and welcoming.

The carefully crafted experience is not unlike a tasting menu prepared by a Michelin- starred chef. Playwright Megan Gogerty and dramaturg Melissa Trepa have deftly mixed textures and flavors to create bold statements and subtle undercurrents.

A St. Louis premiere, this unusual and provocative one-woman show is an ambitious work by the intrepid Gogerty, written in 2019. She has woven a tapestry using images of an ancient myth, revisionist thinking on the classic literature “Beowulf” and a cultural reckoning.

In an Old English epic poem set in the 6th century, the valiant Beowulf is lauded for his strength over demons and beasts. He has traveled to help a king whose hall is terrorized by a monster, Grendel. He slays Grendel and later kills his mother, but not before she has crushed an advisor, Aeschere, in retaliation. Later, the hero becomes king, ruling for 50 years, but is eventually defeated by a dragon. Despite his death, a feast goes on in his honor.

In one of her finest performances yet, a fiery Donna Parrone reveals a personal tale of vengeance, in vivid details. We witness a maelstrom of outrage, grief and feminist comeuppance as she seethes with anger – and is gleeful about her perceived victory against a mighty enemy.

This unnamed character, the “She” here, is mother to Grendel. She might be a magical mythological creature disguised as a middle-aged woman, trying to reconcile past actions. As she reflects on what she has done, there are greater implications regarding humanity.

At first, she comes across as mercurial, and as she discloses the reasons behind her rage, she delves deeper into her emotions, recalling past grievances. Hell hath no fury liked wronged mothers.

Gogerty, using the tragedy as power, makes the case that maybe Beowulf is not such a good guy after all – especially if you read between the lines and view it from the eyes of a mother.

The Tesseract Theatre Company, which specializes in presenting new plays in intimate settings, always has something to say – using drama to create a new point of view.

Maybe you haven’t thought about “Beowulf” since college. Perhaps you have never read it (I admit my ignorance). Even with the “Feast” reimagining, it’s worth knowing the basic plot — but you can enjoy the presentation as a newbie, especially as a universal truth about dominant male patriarchy and how society views motherhood.

That’s because director Shane Signorino, no stranger to the classics, has made sure the political overtones can be translated to the present. As we have sadly been forced to confront, authoritarianism isn’t just in the past. Kayla Bush is the assistant director.

Donna Parrone in “Feast”

Signorino moves Parrone all over the small space with purpose – pleading, scoffing, distressed. This woman refuses to be ignored. It’s one of those virtuoso portrayals where you are mesmerized by the nuances, the change in tempo and tone – and the interpretation of every mood and meaning.

This absorbing production is challenging in ways we have missed during the pandemic. Parrone demands that we listen. Quiet, please – there is a lady on stage! She has been wronged in the worst possible way. After the loss of a child, mothers have an unfathomable depth of sorrow, and this woman, on the periphery of a dark abyss, must be heard.

Parrone has specialized in strong women roles during the past few years, particularly at Tesseract, and one of her finest performances was as Lee Harvey Oswald’s controlling mother Marguerite in “Mama’s Boy” by Rob Urbanati, presented in the fall of 2018.

But this demanding role is on another level and requires a special reserve of stamina.

The technical elements – scenic and lighting design by Taylor Gruenloh and Brittanie Gunn, sound by Megan Barris, music – all create an atmosphere that is highly theatrical.

Watching Parrone’s physicality makes the show very real. She interacts with the audience, with some seated at a few tables, and in chair groupings. You can’t not be a part of the dinner party.

Yes, it’s serious – but it is inspired and not devoid of humor. Consider the presentation as food for thought. If you are hungry for an uncommon drama, “Feast” is worth tasting.

The play runs from June 11 to 27, with performances at 8 p.m. on Fridays and Saturdays and at 4 p.m. Sundays at the .Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com

You can request socially distanced seating, and they ask that your masks remain on during the performance for the safety of all patrons.

Tesseract Theatre Company Returns with ‘Feast’ on June 11

Tesseract Theatre Company Returns with ‘Feast’ on June 11

The Tesseract Theatre Company is returning to the stage at the .Zack Theatre with new play “Feast” by Megan Gogerty. The St. Louis premiere of Feast will star Donna Parrone and be directed by Shane Signorino. The production will be live and run June 11 – 27, Fridays and Saturdays at 8 pm, Sundays at 4 pm.

A brave new work, navigating the intersection of politics and myth. Highly theatrical and timely, this dinner party is both thrillingly ancient and fiercely present. This is an immersive, visceral theatre experience where mythology crashes into pop culture. Feast reimagines an ancient myth as a cautionary tale against the rising forces of authoritarianism.

The .Zack Theatre is located at 3224 Locust Street, St. Louis, Missouri 63103.

There will be group seating as well as social distanced seating available in the space. There will be a limited number of tickets on sale for each performance. As of now, audience members will be asked to wear masks in the space for the duration of the performance for the safety and comfort of all other audience members.

Tickets are available at MetroTix.com. $20 for general audience and $15 for students.

Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

The Midnight Company Announces 2021 Season of 4 Plays

The Midnight Company Announces 2021 Season of 4 Plays

The Midnight Company will present four plays in 2021, including two St. Louis Premieres and one World Premiere.  The Company, which presented the only live theatre in town during the pandemic with Eric Bogosian’s SEX, DRUGS, ROCK & ROLL in November 2020, and mindful of the fears and realities of the ongoing virus war, will open the season with two one-man plays in June and July.

Midnight’s Artistic Director Joe Hanrahan said, “Last November, we worked with the State’s MissouriArtSafe program, the City of St. Louis and the Kranzberg organization to make sure all safety guidelines were in place and being followed.  We’ll be doing the same going forward, hoping that vaccine efforts will continue to positively affect quality of life, enabling us to provide  quality theatrical experiences for our audiences.”

Hanrahan also said, “If there’s a theme to this season, with theatre coming back it’s appropriate that these shows deal with the theatre and show business.  While HERE LIES HENRY focuses on the Art and Science of Lying (particularly relevant to this age of political and societal falsehoods), Marlon Brando did say ‘Acting is lying for a living.’  Our second show, NOW PLAYING THIRD BASE… specifically occurs during a young man’s introduction to live theatre, of a sort.  IT IS MAGIC, our third show, actually takes place during auditions in the basement of a theatre, and TINSEL TOWN, the season closer, tells three stories set in the Los Angeles entertainment world.”
  
The Company opens with HERE LIES HENRY by Daniel MacIvor, June 10-27 at the Kranzberg Black Box.  It will be directed by Ellie Schwetye, with Joe Hanrahan as Henry, a man in a room with a mission to tell you something you don’t already know.  He’s also a liar.  Midnight has presented two plays by MacIvor (a celebrated Canadian writer/performer) including CUL-DE-SAC, and then HOUSE at the 2015 St. Louis Fringe.  Hanrahan performed both one-man shows, and critics said “ CUL-DE-SAC takes you places you may not want to go.  But Hanrahan makes a spellbinding guide.” (Calvin Wilson, St. Louis Post-Dispatch) and “HOUSE is a perfect combination of virtuoso acting and compelling storytelling.” (Chuck Lavazzi, KDHX.)

Tickets for HERE LIES HENRY, a St. Louis Premiere, will go on sale May 10 at MetroTix.com, and prices, performances, capacity and safety procedures will be announced at that time.


Midnight will then present the rescheduled (from 2020) NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND, written and performed by Joe Hanrahan, directed by Shane Signorino, with video design by Michael B. Perkins. It will run July 8-23 at The Chapel.  First presented at the St. Louis Fringe in 2018, the script has been expanded, and Hanrahan said, “The Fringe version of this show had to come in under an hour.  This version, with additional material, should be deeper, hopefully richer.”  NOW PLAYING… is a memory show, of when a teen was introduced, in an unusual way, to live theatre, while the rest of life, including baseball, James Bond, racism, The Beatles, the assassination of John F. Kennedy and more swirled around him.  Michelle Kenyon in Snoop’s Theatre Thoughts called the play “…entertaining, educational, thought-provoking…” and also said it was “…difficult to describe, but what it is is excellent.”

In October, Hanrahan’s short play PATIENT #47 will be presented as part of True Community Theatre’s TRUTH, LIES, and CONFESSIONS October 1-3 at The Chapel.  PATIENT #47 was originally presented at the 2019 Theatre Crawl And later in the month, Midnight will begin to add additional performers to their cast lists. 

Midnight will present Mickle Maher’s IT IS MAGIC, also rescheduled from 2020, directed by Suki Peters, October 21-November 6 at the Kranzberg Black Box.  IT IS MAGIC takes place in the basement of a community theatre.  Two sisters, tireless long-term theatre volunteers but ignored in the artistic process, have finally received their chance to write and act for the group.  While opening night of the company’s Scottish Play goes on in the MainStage above them, they’re holding auditions for the role of the Big Bad Wolf for their new script, an adult version of THREE LITTLE PIGS.  But an inebriated, jaded artistic director and an unexpected, wild Third Sister intrude, delivering dire changes, dangerous chaos and, eventually, magic.  

The cast for the production includes Nicole Angeli, Michelle Hand, Joe Hanrahan, Britteny Henry and Carl Overly.  Chicago’s Third Coast Review called IT IS MAGIC “…one of those love letters to theatre…delightfully wacky,” and New City Stage in Chicago said “Any show that juggles loving critics with tearing their throats out is good in my book.”  

Midnight has previously presented Maher’s THE HUNCHBACK VARIATIONS and AN APOLOGY FOR THE COURSE OF CERTAIN EVENTS AS DELIVERED BY DOCTOR JOHN FAUSTUS ON THIS HIS FINAL EVENING (twice each), and IT IS MAGIC will be a St. Louis Premiere.
And rounding out the year (and rounding out a cycle of plays from three St. Louis theatre artists) is the World Premiere of TINSEL TOWN 3 Short Plays – 24 Hours In L.A. by Joe Hanrahan.  It will run December 2-18 at Avatar Studios, a television production studio on the edge of Downtown St. Louis, near Market and Jefferson, and will be directed by Rachel Tibbetts.   (Midnight has previously presented TITLE AND DEED and LITTLE THING BIG THING at Avatar.)

Joe Hanrahan

 In TINSEL TOWN, Ellie Schwetye and Hanrahan each play characters in the three plays set in the Los Angeles entertainment world.  In LATE LUNCH ON MELROSE, Hanrahan is a talent agent trying to convince his movie star client, Schwetye, to accept the new normal.  In JUST OFF SUNSET, Schwetye is a rock singer/songwriter who’s just finished a frustrating gig at a club, and Hanrahan is a grizzled backup musician who’s seen it all in the industry.  And in SHOOT IN SANTA MONICA, Hanrahan is a British actor brought to Hollywood for a role in a science fiction film, and Schwetye is the director trying to get her first film under her belt.

Hanrahan first worked with Tibbetts when he recruited her to direct an earlier Midnight run of SEX DRUGS ROCK & ROLL, after seeing her direction of BACHELORETTE for her home company, SATE.  Thus began an association between their two companies, with Hanrahan acting in ONE FLEA SPARE, OF MICE AND MEN, DOCTOR FAUSTUS and 2020’s APHRA BEHN FESTIVAL for SATE; and Schwetye directing JUDGMENT AT NUREMBERG(with Tibbetts in the cast) and A MODEL FOR MATISSE for Midnight.

But it was during the winter of 2016/2017 that these three did two plays together that demanded a third, sometime in the future, to complete a triptych.  At that time, Hanrahan directed Schwetye and Tibbetts in the vampire drama, CUDDLES, for SATE, followed by Schwetye directing Tibbetts and Hanrahan in Midnight’s Irish thriller, LITTLE THING BIG THING.  So a third show was needed, with (as TINSEL TOWN provides) roles for Schwetye and Hanrahan, and Tibbetts directing.  And thus, the cycle will be complete, and TINSEL TOWN will bring Midnight’s 2021 season to  a close.

Silly Shenanigans Ensue in Two-Man Tour De Force ‘Popcorn Falls’

Silly Shenanigans Ensue in Two-Man Tour De Force ‘Popcorn Falls’

By Lynn Venhaus
Managing Editor
Spry actors Joe Hanrahan and Shane Signorino slip into 21 different characters
to play the denizens of “Popcorn Falls,” a daffy mix of vignettes designed to
showcase performers’ strengths while paying tribute to small-town personalities
– and the power of theater.

This average American town, whose residents prefer to be
called ‘kernels,’ has seen better days, and is in danger of bankruptcy because
their waterfall has dried up, no thanks to a new dam. Without their claim to
fame, tourists and commerce has vanished. But a greedy corporation is ready to
pounce, with plans to demolish the town and turn it into a sewage treatment
center. Can the town be saved?

Because of an old arts grant, they can get enough money –
but writing and producing the play must be done in a week — despite the lack
of a theater and experienced thespians. Shades of Blaine, Missouri, the center
of “Waiting for Guffman.” Or Mickey Rooney and Judy Garland practicing in a
barn – “Hey kids! Let’s put on a show!”

Can this absurd solution work?

Sure, if our dynamic duo of intrepid mayor (Hanrahan) and loyal
custodian (Signorino) be the heroes and rally the town with the grant money
dangling before them. But in the bigger picture, can art save the world?

You can clearly figure out playwright James Hindman’s
thought process. While the optimism is unwavering in this 2017 off-Broadway comedy,
the farcical material isn’t as amusing as the portrayals.

I don’t think it’s a coincidence that Popcorn Falls
resembles other quirky fictional settings that evoke warm and humorous memories
– Stars Hollow, Mayberry, Greater Tuna, Bedford Falls – heck, even “Frostbite
Falls” from “The Adventures of Rocky and Bullwinkle.” It provides the basis for
wacky characters and nutty situations, even if it’s derivative.

The pairing of Hanrahan and Signorino is inspired, with their
skills and talent enough to convincingly conjure up a cadre of zany townsfolk.

Hanrahan’s Ted Trundle, the beleaguered new mayor on the
verge of divorce, shares quite an interesting backstory. He is counting on the
neighboring county’s budget committee to bail them out, and enthusiastically
gathers folks at the library to cobble together the plot. Well, this turns into
a free-for-all what-did-I-get-myself-into scenario.

Signorino’s main man is head custodian Joe, who is shown at
work and at home. He frets about supporting his growing family if the town goes
belly-up. He also transforms into the majority of characters – including a
female bartender at The Sudsy Mug (as does Hanrahan), her precocious young
daughter, the dramatic cat-lady librarian who fancies herself an actress, the
snaky corrupt county official, dim but well-meaning sheriff, the one-armed owner
of the lumber yard, and a chain-smoking middle-school teacher with a vivid
imagination. Hanrahan portrays the local mortician who wants to act in the
show.

Both stalwarts of the local theater community, Hanrahan and
Signorino work together in the manner of classic comedy duos, manic improv
pairs and old-timey vaudeville/variety acts. They know how to work a crowd, with
Hanrahan basically the straight man to Signorino’s goofy multitudes, and can easily
switch into various roles.

In an impressive turn, Signorino rises to the demand of
performing all his characters during the original play’s dress rehearsal.

Instead of costume changes, the characters are
distinguished by vocal adjustments, attitudes, posture, and perhaps a hat or
accessory or prop.

This is the kind of show The Midnight Company excels at, usually
one-acts with little frills but ambitious and often unique and interesting
material, realized by a strong but small cast. Director Sarah Whitney has deftly
guided the pair for maximum madcap effect.

If at any time it is confusing, that’s the fault of the thin
script and not the nimble actors. Hanrahan is nearly in view the entire time
while Signorino rushes about to accommodate the others. The pair seemed to be
having fun — but the parts are a challenge because of the fast pace.

The simple staging in the Kranzberg Center’s black box gives
the men a small space to fill with their clever characterizations in the
well-worn “play within a play” format.

Chuck Winning has designed a functional bare-bones set, replicating
a budget-strapped town hall meeting room. Scene changes are announced on a small
blackboard, and it would help to clean the board every night, for the layers of
chalk dust make it difficult to read the later scenes.

Tony Anselmo created a straightforward lighting design that
works well within the small confines.

Even though the material is lightweight, Hanrahan and
Signorino do considerable heavy-lifting, and they muster enough charm to sell
it, along with their sincerity and veteran work ethic. Now, if only the squirrels
wouldn’t chomp on the town hall wires because Popcorn Falls can’t afford traps.

The
Midnight Company presents “Popcorn Falls” Thursday through Saturday at 8 p.m., March
28 – April 13, in the Kranzberg Arts Center blackbox theater. Tickets are
available through MetroTix.com. For more information, visit www.midnightcompany.com
The play is performed without an intermission and is 85 minutes long.

Bright Lights Column: Give My Regards to Broadway

Bright Lights Column: Give My Regards to Broadway

Local actor-singer lands national tour, Tony-nominated local playwright ready for another Broadway go-round, managing editor Lynn Venhaus back on Broadway (the street) and reflects on Neil Simon, local fest in lieu of Lou Fest and more!
SOMETHING WONDERFUL: St. Louis’s own Mark Saunders has landed a plum role in a national tour of the Tony-nominated musical “Something Rotten!” He is playing Brother Jeremiah, the father of Portia, a Puritan girl who falls in love with the single Bottom brother, Nigel.
The new Work Light Productions’ non-Equity tour will launch Sept. 19 at the RiverCenter for the Performing Arts in Columbus, Georgia, and he’ll be on the road until next June. The tour includes a one-day stop in March at the Stifel Theatre (formerly the Peabody).
This hilarious musical comedy tells the story of brothers Nick and Nigel Bottom, two playwrights stuck in the shadow of that Renaissance rock-star William Shakespeare. When a soothsayer foretells the next big thing in theatre involves singing, dancing, and acting at the same time, the Bottom brothers set out to write the world’s very first musical.
“Something Rotten!” premiered on Broadway in 2015 and was nominated for nine Tony Awards, with Christian Borle winning for Best Featured Actor as Shakespeare.
So, how did this exciting opportunity happen? Mark, a St. Louis native and graduate of Bishop DuBourg High School, said he responded to an audition notice and asked for advice from a friend who had worked on the producing side of the original Broadway production.

“After chatting with him, and a lot of amazing people helping me out, I was able to get my materials (headshot, resume, website, etc.) to the casting agency and they called me in for an audition,” he said.
It was on his birthday, a Monday. He was called back that Thursday and found out the next day he was cast.
“It was even crazier because the day that I found out and flew home, I had to perform a piece by Rachmaninov in Russian with the St. Louis Symphony Chorus. So, I landed around 3-ish and had to get my life together and be at Powell Hall for a concert at 7 p.m. It was a crazy nine days from the day that I got the initial email to the day that I found out that I booked the show,” he said.
Currently, he is rehearsing in NYC. During the past few weeks, he has been getting fittings done, and taking care of other logistics.
When he had a shoe fitting for a custom pair of boots at LaDuca, he described it as “an insanely happy moment.”
“You hear about all these kinds of moments, but when it’s actually you, it’s crazy!” he said. “I’m super excited that we’re going to play the Stifel Theatre in St. Louis on March 13, 2019! I can’t wait to share this amazing cast and show with my family and friends.”
Born and raised in Dogtown, Mark has worked different day jobs while pursuing performing opportunities. Recently, he was in Union Avenue Opera’s “Lost in the Stars” and can be seen in a Missouri Lottery commercial for The Voice VIP Promotion. He has been a paid singer with the St. Louis Symphony Chorus for the past five years.
In addition to Mark, the cast features Matthew Baker as Shakespeare, Matthew Janisse as Nick Bottom, Greg Kalafatas as Nostradamus, Emily Kristen Morris as Bea, Jennifer Elizabeth Smith as Portia, and Richard Spitaletta as Nigel Bottom.
For more info or tickets, visit www.rottenbroadway.com
Bravo and Break a Leg!
***IN LIEU FESTIVAL: Sunday will still be a Fun Day, thanks to the Kranzberg Arts Foundation, who has come to the rescue of local bands without a venue now that the Lou Fest has been cancelled.
“The Sound of St. Louis Showcase,” a free musical festival will take place on two stages — at The Grandel Theatre and the Dark Room (in the Grandel) — from 2 to 10 p.m. Sept. 9 in the Grand Center Arts District.
In addition to the Kranzbergs, other sponsors include Urban Chestnut Brewing Company, Gaslight, the Regional Arts Commission of St. Louis, Express Scripts, and Red Bull are presenting this showcase of “some of the best talent in our vibrant music scene. Help us uplift and celebrate ‘The Sound of St. Louis.’ More local vendors may become involved.
The local line-up includes Ben Reece’s Unity Quartet, Bob DeBoo, The Burney Sisters, Dracla, Grace Basement, Jesse Gannon, Kasimu-tet, Kevin Bowers, Nova, The Knuckles, Mo Egeston, Owen Ragland, Ptah Williams Trio, The River Kittens, Scrub & Ace Ha and Tonina.
***
GO SEE A PLAY POLL: Oh, what a beautiful day! You can win two free tickets to “Oklahoma!” at Stages St. Louis for either this Friday or Saturday.
Rodgers and Hammerstein’s first collaboration will open at Stages St. Louis Sept. 7 and will run through Oct. 7. When it debuted on Broadway 75 years ago, it changed the face of the American musical, and ran for more than five years.
Were you in a school production, in community theater or professional regional theater? It seems many people were. Who is your favorite among the iconic characters?
Such history! Those unforgettable classic songs “Oh What a Beautiful Mornin,” “People Will Say We’re in Love,” “The Surrey with the Fringe on Top,” “I Cain’t Say No” and “Kansas City,” not to mention the title number, always stay with you.
You can see Stages’ fresh take on this historic musical by entering our Go See a Play Poll. Respond to our poll question on who your favorite iconic character is, along with your name and phone number, and send to: lynnvenhaus@gmail.com by noon Friday, Sept. 7. We will draw a name, and you can choose either Friday or Saturday, Sept. 7 or 8, at 8 p.m. performance – two tickets. We’ll let you know and help arrange your selected evening with the fine folks at Stages St. Louis.
Who is your favorite character from “Oklahoma!”?
Ado Annie Carnes
Aunt Eller
Gertie Cummings
Jud Fry
Ali Hakim
Curly McClain
Will Parker
Laurey Williams
Peter Wochniak photo
***THE KIDS ARE ALRIGHT: Every year, new theater troupes pop up in the metropolitan St. Louis area, but perhaps the biggest growth is with youth groups. The Debut Theatre started this year and all proceeds benefit Pedal the Cause, which funds cancer research. The youth-founded group will present its third Acting Against Cancer event with a performance of “Into the Woods” on Saturday, Sept. 22 at the Chesterfield YMCA.
Debut Theatre Company was founded by youth to promote life-long learning and appreciation of the arts toward a more conscious and compassionate community. Its goal is to engage, inspire and entertain.
The mission statement includes: “We hope to make a difference for our artists, our audiences and those who benefit through our charitable cause. This youth centered company celebrates the essential power of the theatre to illuminate our common humanity.”
In the metro-east, St. Clare of Assisi Catholic Church music director Stephen Eros and his wife, Jamie Marble Eros, music director at St. Clare School, organized a community theatre troupe to present “Godspell,” with 13 adults and teens in the cast, last month. A 25-member children’s chorus, which rehearsed through a week-long music camp at the church, joined the cast for two public performances.
***SIDE BY SIDE: Tony nominee Chad Beguelin of Centralia, Ill., is gearing up for another Broadway opening. He co-wrote the book with Bob Martin and lyrics for the musical “The Prom,” which begins previews Oct. 23, along with writing partner Matthew Sklar, who composed the music.
Chad Beguelin of Centralia, Ill. on 42nd Street near graphics of shows he’s both a part of on Broadway. Photo provided.He posted this recent picture in front of the Longacre Theatre at 220 W. 42nd Street, the new home of “The Prom,” while “Aladdin” is currently running next door, at the New Amsterdam Theatre. He wrote the book and new lyrics to the 2011 musical “Aladdin,” invited by Alan Menken to do so, and landed his third and fourth Tony nominations in the process. Fun to have two of your shows collide (his other major works include “The Wedding Singer” – Tony nominations for book and lyrics — and “Elf”). The duo’s website is: www.sklarandbeguelin.com
“The Prom” is about a canceled high school dance and four fading Broadway stars who seize the opportunity to fight for justice — and a piece of the spotlight
Beth Leavel and Adam HellerBest wishes to Muny favorite Beth Leavel and her leading man, Adam Heller, on their recent engagement. They played Rose and Herbie in The Muny production of “Gypsy” this summer, and she is preparing to star in The Prom.” They are shown here attending the 2015 premiere of “It Shoulda Been You.”
Those aren’t the only local connections. “The Prom” producers include Jack Lane, Terry Schnuck and Ken and Nancy Kranzberg, all of St. Louis.
Talk about timing! New Line Theatre will produce “Be More Chill” in May, and the musical sensation is moving to Broadway in March.
Attagirls to the MVPs of SATE, who dealt with an audience medical emergency during the final performance of “No Exit” at The Chapel Sept. 1. Kudos to Kristen Strom, stage manager; Bess Moynihan, director; and Ellie Schwetye, producer for the cool and calm efforts.
(And another round of applause for the cast – Rachel Tibbetts, Shane Signorino, Sarah Morris and Katy Keating — for their professionalism).
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WORD: “I can’t take his genius anymore.” – Rita Hayworth, on divorcing Orson Welles.
On Sept. 7, 1943, Welles whisked Hayworth away from the set of “Cover Girl” and they were married at the Santa Monica City Hall. She was 25, he was 28. Their marriage would last less than four years; they had one daughter, Rebecca.
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BROADWAY BOUND:  During a recent trip to NYC to visit my youngest son, I was fortunate to see “Straight White Men” starring Armie Hammer, Josh Charles, Paul Schneider and Stephen Payne, with introduction and some supporting work from Kate Bournstein and Ty Dafoe, at Broadway’s Helen Hayes Theatre. It is a 10-week limited run ending Sept. 9.
Charlie and Lynn Venhaus at Helen Hayes Theatre, Aug. 26.Written by Young Jean Lee, she is the first Asian-American female playwright to be produced on Broadway. She provided laughter and poignancy, striking a chord about family interactions when you are grown-ups.
The Helen Hayes Theatre is the smallest on Broadway, at 597 seats, and recently renovated to become Second Stage’s new home.
It starts out on Christmas Eve with a widowed dad and his three grown sons — two who live out of town. With its Christmas setting, the play about family dynamics and the responsibilities that come with education and privilege lends itself to the intimate atmosphere. It’s 90 minutes, no intermission.
All the actors were good – convincing as a real family – but Paul Schneider is the one I’d for sure single out for awards. I hope it’s considered for multiple Tony Award nominations.
So many people connected with this show were Steppenwolf Theatre veterans and involved in the “This Is Our Youth” revival that both sons and I saw at the Cort Theatre in November 2014, notably director Anna D. Shapiro and scenic designer Todd Rosenthal. They also launched Tracey Letts’ “August: Osage County.”
No wonder this was so tip-top. I can see local theater groups wanting to produce it, and there is plenty of local talent to fill those roles. I suspect I will see it again. This play will likely have a good run with groups across the country.
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Barbra Streisand sings “Don’t Rain on My Parade”TRIVIA TIME-OUT:  Fifty years ago, the movie adaptation of “Funny Girl” premiered on Sept. 8, 1968, earning Barbra Streisand her first Oscar for her first movie role. However, she had originated the role of Fanny Brice on Broadway.
The Academy Award was the first and only tie for Best Actress. Who did she share the award with?
What was Streisand’s second Oscar for?
In 1964, Streisand lost the Tony Award for her performance in “Funny Girl” to what actress?
Answers:
Katharine Hepburn in “The Lion in Winter”
Best Song: “Evergreen” from “A Star is Born”
Carol Channing for “Hello, Dolly!”
TRIBUTE: He was one of my first theater idols and continued to be a favorite, decades later. I discovered Neil Simon in high school, used “The Star-Spangled Girl” for speech competition (comedy interp) senior year, was in his plays “Fools” (Lenya) and “Plaza Suite” (Karen) in community theatre, and made it a point to see pretty much all his shows.
He influenced me in the way he wrote such distinct characters with specific snippets of dialogue to give you hilarious insights into their personalities. He had such an impact on modern comedy!
On Aug. 26, the day Neil Simon died, at age 91, I happened to be in New York City and was planning a Broadway afternoon. So I went by the Neil Simon Theatre to pay my respects and see any tributes.
The playwright had written over 30 plays and movie scripts, mostly adaptations of his own works, but a few originals (“The Out-of-Towners” and “The Goodbye Girl.”)
We headed to the Neil Simon Theatre on W. 52nd in the twilight — as all the marquees began to light up the night, I knew the sign would be dark as a tribute to the legendary funny man. A small memorial had started.
His influence on comedy writers was significant. I read “The Odd Couple” when I was 15 and had never laughed so hard. That was around the time I saw the 1967 movie “Barefoot in the Park” with Jane Fonda and Robert Redford, who had played Paul on Broadway. Then I saw “Promises, Promises” with Jerry Orbach at the Muny in 1970, and I marveled at genius. That man was a quip machine!
I realized that reading/seeing Simon’s plays had given me a yearning to see NYC (along with early Woody Allen movies). It was his town, his people. He taught us Midwesterners all about the Big Apple.
Now it was back to my son Charlie’s apartment in Brooklyn, where once upon a time I envisioned Eugene being scolded by his Mom Blanche as he envisioned himself pitching for the Brooklyn Dodgers. (“Brighton Beach Memoirs” is one of the few Simon works that makes me cry).
Thank you, Mr. Simon, for making us laugh and recognize ourselves along the way.
Lynn Venhaus as Lenya in Monroe Actors Stage Company’s “Fools” in November 2009.What are your favorites? Please add your comments.
“Fools” was the funniest play I ever was in, and it was my final performance in community theater.