Mendacity meets the mundane in Stray Dog’s razor-sharp ‘The Minutes’

Mendacity meets the mundane in Stray Dog’s razor-sharp ‘The Minutes’

By Lynn Venhaus

“A hundred years from now, will anyone care?”

And that line, asked by a small-town council member, is a double-edged sword in Tracy Letts’ brilliant “The Minutes.” Presented by Stray Dog Theatre, this comedy-drama is a rare work of raw theatrical power as told by a razor-sharp ensemble.

In his usual unflinching way, the master playwright probes the very tenets of democracy with his customary sharp wit and acerbic style. The eight-year-old play is as timely as ever as news is suppressed, and rules of law are disregarded currently in various administrations.

The Tony-nominated play, produced by the Steppenwolf Theatre Company in Chicago in 2017, was scheduled for previews on Broadway in 2020, but had to be shut down due to COVID-19, then returned for opening in 2022.

What starts out as an amusing series of exchanges recalling the eccentric film “Waiting for Guffman” and nutty TV sitcom “Parks and Recreation,” nailing the quirkiness of small-town living and municipal government, makes a hairpin turn into a scalding look at democratic principles that should leave you shaken and stirred.

Tawaine Noah, John Reidy, Gerry Love, Jon Hey, Stephen Peirick and Jan Niehoff. Stray Dog photo.

The well-chosen cast, shrewdly subverting expectations, smartly interprets Letts’ blistering look at how those in power will ignore revisionist history to distort the accuracy for political agendas. And that’s chilling to think about how history is written and recorded.

In his contemporary civics discourse, Letts focuses on a fictional town called Big Cherry. At first, we witness funny coffee-break chatter before eight elected members of the city council comprise a quorum, and along with the mayor and clerk, have a closed-door session – but wait, one guy is missing, and the reason isn’t very clear.

Oh, Letts’ cunning. The minutiae have a motive – he’s carefully chosen every topic, every chuckle. Letts has smoothly built the action to reveal how people in authority overlook principles for their own greed and ambition.

The personalities are distinct. John Reidy is sly Mr. Breeding, your typical gladhander who measures people by their golf game. Will Shaw is the eldest statesman Mr. Oldfield, a cranky sort who likes things the way they were. Patrick Canute is harder-to-read Mr. Hanratty, who appears to be thoughtful and committed.

John Reidy, Jan Niehoff and Lavonne Byers in skit re-enactment of town’s founders. Stray Dog photo.

As Mr. Blake, Tawaine Noah is glib and fired up, pushing his pet project, “Lincoln Smackdown,” a cage match. Has he been drinking? Jan Niehoff is ditzy Ms. Matz, who is scattered and blurts out that she’s heavily medicated. Lavonne Byers is Ms. Innes, whose inflated sense of self-importance means she tends to make things all about her. Grandstanding is her favorite way to address her peers.

Mr. Assalone is one of Mayor Superba’s cronies who has little patience for transparency. As “that guy,” his portrayal measured, Jon Hey is smarmy and curt, attitude and aggression festering as the meeting progresses.

Gerry Love deftly plays the iron-fisted mayor as jovial enough but he’s manipulative, controlling and entitled, as his good old boy façade collapses into self-righteous excuses.

The city clerk, Ms. Johnson, savvily played by Rachel Hanks, is machine-like in efficiency, and Hanks has affected an annoying sing-songy voice to appear like an insufferable goody-two-shoes honor roll student you knew in school.

The guy who gets under all their skin is Mr. Peel, the earnest newcomer. Always impressive Nick Freed skillfully portrays the newly elected council member who wants to make a difference. He asks a lot of questions, harmless enough, but his curiosity is unwelcome.

Tawaine Noah, Nick Freed.

Mr. Peel missed the last meeting because his mother died. Where is Mr. Carp? This appears shrouded in secrecy. In a clever flashback, Stephen Peirick shows up as the now absent council member who dared to challenge his colleagues.

As preparations are underway for the annual Founders’ Day, a horrified Carp is compelled to share his findings. Delivered urgently and passionately, Carp has discovered something rotten they don’t want to hear.

Even the reason behind the town’s name is a lie. What is taught in classrooms and presented in pageants with great fanfare is not the reality Carp has uncovered. There’s a danger to the truth, and Peirick implores them to listen.

Peel, a dentist who is not from Big Cherry but moved there with his young family, is not familiar with the town’s founding father story. All he wants is to see the minutes from the meeting he missed. But as Peel becomes aware of why Carp retreated, a growing apprehension of being an outlier comes sharper into focus, and Freed’s work here adroitly exposes malfeasance.

Understanding the play’s complexities, director Justin Been finessed Letts’ nuances in a terrific push-pull with all the characters. As the power dynamics shifted, he carefully modulated the temperature in the room as the actors serve and volley, mostly seated, but occasionally as they move around the dais.

Along with Tyler Duenow’s effective lighting design, Been’s sound design signals a storm outside on this November evening. His scenic design captures a nondescript place like dozens of meeting spaces around the country, where public participation shapes laws.

Other creatives contributing to the production include Kevin Corpuz’ choreography, Colleen Michelson’s costume design and Lizi Watt as cultural consultant.

Letts, who was a finalist for the Pulitzer Prize for Drama in 2018 for this pitch-black show, exposes ugly truths and how self-preservation and complacency factors into moral dilemmas.

Letts grew up in Oklahoma and won a Pulitzer Prize and Tony Awards for his masterwork, “August: Osage County” in 2007. An insightful writer about dysfunctional human experience, he’s always thought-provoking, sometimes unsettling, with a penchant for the absurd.

Patrick Canute and Nick Freed. Stray Dog photo.

In “The Minutes,” he expertly built tension as the comfort level evaporated. At its core, the complicit council’s smugness threatened to suffocate common sense and decency in favor of expediency.

The one quibble is that while Letts engaged with a conventional narrative structure, he abandoned that for a surreal ending that seemed at odds with the tone of what’s gone on exploring imagery vs. substance, alternative facts vs. reason.

While he enjoys keeping people on edge, it appeared to be an extreme turn after already zig-zaggy storytelling. Still, an admirable work performed vividly with deliberate direction.

“The Minutes” is a potent, politically charged American allegory for the ages, relevant then and now. It may be a cliché that the smallest towns hide the biggest secrets, but exposing hypocrisy is always welcome.

Lavonne Byers, Will Shaw. Stray Dog photo.

Stray Dog Theatre presents “The Minutes” Oct. 2 – 18 at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, Mo 63104. Performances are at 8 p.m. on Thursdays through Saturdays, with additional performances at 2 p.m. Sundays on Oct. 5 and Oct. 12. The play is 90 minutes without an intermission.

The cast of “The Minutes” at Stray Dog Theatre.

All photos by Stray Dog Theatre.

Honest, Earthy Performances Impress in Stray Dog’s Heartfelt ‘Frankie and Johnny in the Clair de Lune’

Honest, Earthy Performances Impress in Stray Dog’s Heartfelt ‘Frankie and Johnny in the Clair de Lune’

By Lynn Venhaus

“Moonlight and love songs are never out of date” …”As Time Goes By”

Stephen Peirick and Mara Bollini act their hearts out in a complicated love story about damaged souls making a connection in Terence McNally’s perceptive “Frankie and Johnny in the Clair de Lune.”

McNally, who won five Tony Awards during a six-decade career and was nicknamed “The Bard of America,” had a keen ear for dialogue – the way ‘real’ people talk. Even if characters are New Yorkers, you can universally identify with their joys and sorrows.

Frankie, a waitress, and Johnny, a short-order cook, work at the same diner. After several weeks of mutual attraction, they finally hook up for a date that turns into a passionate all-nighter back at her apartment. Their sexual activity is heard, not seen, but discussed in detail, and some nudity is involved.

Their thought-provoking post conversations are full of sly observances, remarkable coincidences, laughter, explicit language – and need for sustenance, not only her craving a cold leftover meatloaf sandwich or using his knife skills to prepare a Western omelet.

Stephen Peirick and Mara Bollini. Photo by Sarah Gene Dowling.

Unfiltered Johnny is a loquacious fellow – even quotes Shakespeare – but there is some darkness hinted at, while Frankie is more guarded, not so quick to reveal her life story. It’s obvious, with their real ages 41 and 48, that their experiences include so-called baggage and battle scars, but what they choose to share is heartfelt.

This relatable working-class pair do not expect fairy tale fantasy endings, after failures and faults have piled up over the years, but wanting fulfillment instead of only sexual pleasure is brought up in conversation.

McNally, who died in 2020, also had a gift for creating a community, exchanging ideas and presenting ways to deal with change, as his plays “Master Class,” “Love! Valour! Compassion!” and “Mothers and Sons” demonstrate, as do his books for musicals “Ragtime,” “Kiss of the Spider Woman,” and “The Full Monty.”

In this hopeful yet realistic look at elusive love, he wants the audience to ponder if they could heal after expressing their feelings and make a stronger commitment despite the difficulties.

The play, celebrated in both its off-Broadway run in 1987 and later Broadway and revival, starred acting luminaries Kathy Bates and F. Murray Abraham, Michael Shannon and Audra McDonald, and Edie Falco and Stanley Tucci as the titular characters.

A much-maligned 1991 movie adaptation, directed by Garry Marshall, starred Michelle Pfeiffer and Al Pacino. It was criticized for the stars being “too attractive” to play ordinary roles, and was described as lacking depth.

The best thing about Stray Dog’s carefully crafted production is its intimacy, and that has much to do with the performances from two veteran actors who are brave enough to expose their vulnerabilities, with physicality, good comic timing and frankness.

Director Gary F. Bell approaches the mature-themed material in his customary straightforward manner, steadily and clear-eyed. He also designed suitable costumes for a casual date and lingerie.

Savvy sound designer Justin Been punctuates the evening with a fine selection of classical music, including Claude Debussy’s beloved “Clair de Lune,” which means “moonlight” in French.

The soothing, ethereal piano piece conjures up gentle imagery and sums up the couple’s longing. It’s a perfect coda for an emotional rollercoaster ride.

Photo by Sarah Gene Dowling.

Johnny is smitten in a hopeless romantic way, wanting more than a one-night stand, and eager to rush in, which Frankie is wary of, for she is not so sure she’s ready for his intensity. Their push and pull are the crux of the two-act play.

Because we’re in the post-#MeToo era, and “no means no,” as it should, some of the actions are problematic (the play is set in the 1980s). If it was a contemporary piece written today, they would not have moved on to a second act, and I think concerns about Johnny’s attempted manipulation of Frankie would be raised.

So, there is that. She wanted him to leave, said so a couple times, and he wanted to stay. His directness seems more uncomfortable than persuasive. Women’s safety should always be at the forefront of storytelling in 2025. Therefore, this is a period piece that can get cringy 38 years later.

After that troublesome exchange, it appears that she willingly changed her mind because we would have had a very different outcome. As truths are tdivulged, more of a growing closeness can be felt.

Johnny’s desire for a genuine love connection and Frankie’s hesitant steps to trust again are moments of sweet tenderness – but that appearance of pressure that wound up being worked through took some suspension of belief, truth be told.

The two actors have worked together several times, including superbly as the iconic bickering married couple George and Martha in “Who’s Afraid of Virginia Woolf?,” which was staged at Stray Dog in 2023. There is little comparison to those dynamics..

Their ease with each other helps convey their loneliness, aspirations and fears. Peirick and Bollini, both likable performers, display comfortable chemistry.

This demanding two-hander requires a great deal of stamina and ‘heavy lifting,’ because they are on stage for the entire 2 hours and 15 minutes, so this accomplishment is commendable.

Photo by Sarah Gene Dowling.

The creative team’s naturalistic designs are good assets to tell this comedy-drama. Bell also designed the set, a well-worn one-room studio walk-up in Manhattan, in the Hell’s Kitchen neighborhood. However, it can become claustrophobic over the course of a long night.

Tyler Duenow’s lighting design illuminates the pillow talk with different lamps or keeps everybody in the dark during the more ‘delicate’ moments. He also streams moonlight and the breaking dawn during the times they reference the moods and the music.

Stage managers Justin Been and his assistant Aasrith Veerapaneni keep things moving.

On one hand, “Frankie and Johnny in the Claire de Lune” is a product of its time. Its pragmatic look at relationships still offers a glimmer of hope. Overall, the characters resonate, largely due to the engaging efforts of Peirick and Bollini. In today’s vernacular, they play people who want to be seen and heard in a valuable way.

It’s still the same old story
A fight for love and glory
A case of do or die
The world will always welcome lovers
As time goes by,
— Herman Hupfield

Stray Dog Theatre presents “Frankie and Johnny in the Clair de Lune” June 5 through June 21 at the Tower Grove Abbey, 2336 Tennessee Avenue. The performances are Thursday through Saturday at 8 p.m., with special Sunday matinees at 2 p.m. on June 8 and 15. The show contains mature language, adult situations, flashing lights, discussion of abuse, and nudity. Viewer discretion is advised. For more information: straydogtheatre.org

Sarah Gene Dowling Photo.

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

By Lynn Venhaus

Epic in scope and intimate in execution, Tesseract Theatre Company’s “The Inheritance” Part I is a monumental achievement that leaves one exhilarated and eagerly anticipating Part 2.

A rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love is written vividly and perceptively by Matthew Lopez.

This Tony and Olivier-Award winning play is surprising in its wit and depth of feeling as we’re hit with this tsunami of talent meeting moment after moment.

This magnum opus on what it’s like to be gay in America is boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble that radiates charm and conviviality.

It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.

 What does it mean for the future? Intertwining a sprawling cast of 13, Lopez examines healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”

Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.

Alex C Moore plays Morgan and Walter. Photo by FF.

Moments of grace and laughter abound as the knotty entanglements of life unfold. Lopez tackles the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastical way. It is specific to the LGBTQIA+ experience, but allies will be able to relate.

Where to begin with this marathon of a show that defies conventions and embraces universal truths?

Employing an uncommon structure, Lopez nimbly name drops in a dishy soap-opera way, using familiar – and amusing — pop culture references, while being profound about generational experiences with textured, novelist flourishes.

The production’s 7-hour runtime may be daunting, but do not be intimidated by its two parts. Yes, it is a commitment, but the rewards are vast, especially when everyone involved has given their all, and it shows.

Part 1, which is from Summer 2015 to Spring 2017, is 3 hours and 10 minutes. The first act is 75 minutes, followed by a 15-minute intermission, then the second act is 55 minutes, followed by a 10-minute intermission, and final piece of Part 1 is 52 minutes.

Part 2, which is set from Spring 2017 to Summer 2018, is 3 hours and 15 minutes with one intermission and a brief pause. I look forward to returning to find out what’s happening with these people.

Keeping the momentum was obviously Peirick’s goal, and it is riveting from start to finish, never sagging.

However, the way the multi-layered show is structured is an investment, as it has many moving parts and themes that intersect. Sure, it’s imperfect, but hello…

It takes a broad canvas and narrows it down, starting in a classroom, where out-and proud gay men in their 30s are instructed by E.M. Forster, known as “Morgan,” to shape their own stories.

Gabriel Paul as Toby and Chris Kernan as Eric. Photo by FF.

Yes, the legendary author Edward Morgan Forster, who lived from 1879 to 1970, and besides “Howards End,” wrote the novels “A Room with a View” and “A Passage to India,” all later adapted into Merchant and Ivory films.

This is a conceit that is a master stroke, and not far-fetched. While the contemporary characters here chastise Morgan for hiding his sexuality publicly as a gay man – homosexual acts in private weren’t decriminalized until he was 83 – he is a guiding light.

According to biographical data, in 1963, Forster wrote: “How annoyed I am with society for wasting my time by making homosexuality criminal. The subterfuges…that might have been avoided.”

While that is not forgotten, he never gave up on love and believed all his life that “the true history of the human race is the history of human affection.”

So, it’s no wonder that this play is based on his 343-page “Howards End,” demonstrating empathy and understanding, and especially with the full-circle motto: “Only connect.”

In “The Inheritance,” Morgan’s advice comes from a place of love and wisdom. In a preternatural performance, Alex C. Moore navigates the role like a captain on a ship, respected and in command. He’s an imposing, mesmerizing figure in dual roles.

“One may as well begin with Toby’s voice mails to his boyfriend,” he says with confidence, and the students appear to begin making up the work as they go along.

Toby at the disco. Photo by FF.

The interconnectedness of the characters is engrossing. Political activist Eric Glass is cultured and likes bringing people together. He’s mindful of making a difference in the world and his heritage. Chris Kernan plays him as committed but easygoing.

His boyfriend, aspiring playwright Toby Darling, is reckless and hedonistic, drawn to the limelight and lives in the moment. Gabriel Paul’s performance bristles with electricity — he’s a hot spring of emotion, giving off Icarus vibes.  

They are the main couple, but the secondary pair are two older, longtime companions –
Walter Poole and Henry Wilcox – wealthy gentlemen with social graces and an enviable lifestyle. Jon Hey as the capitalist billionaire Henry and Moore, as Walter, the caretaker/partner, ingratiate themselves as learned men of money and manners.

In another dual role, a captivating Tyson Cole is Adam, a flirtatious and adventurous rich kid who disrupts Eric and Toby’s lives.

For all of Toby’s faux bravado, there is an undercurrent of turbulence and mystery, particularly when Toby is drawn to a street hustler, Leo, also played by Cole. Paul’s intense Toby, as troubled as he is, driven by fame and his libido, is a remarkable achievement in complexity.

Cole superbly manages to play both his roles surreptitiously, distinguishing them in subtle ways. In his Prague monologue, he shows exceptional bravery.

Lopez has created a circle of friends that feels like a warm cocoon, in a way that Mart Crawley’s play “The Boys in the Band” couldn’t in 1968, or wasn’t, in its 2018 revival. They are a Greek chorus, not unlike Bobby’s married friends in the Sondheim musical “Company.”

It’s that dichotomy – outside in a not-so-kind world, and inside their sanctuary that is contrasted so sharply.

Through overlapping dialogue, the actors establish characters and their place in Eric and Toby’s orbit, while Kernan anchors this landscape. Eric has fostered a supportive environment, and now his life is topsy-turvy in both unexpected and anticipated ways.

He traverses the slab stage to center it as his family homestead, and then deals with all the aggravations of ‘being.’

Photo by FF.

A sweet friendship between Walter and Eric develops, and their conversations are lovely reminders of the people we meet on our journey, and how they influence our thoughts and deeds.

Howards End was the name of a country house in the novel, and a similar property is prominent in this play. It takes on different emotional and sentimental meanings, which is another interesting aspect, and best not be spoiled in a review. Its impact is earned in ending Part I.

Peirick’s scenic design expands on the blossoms of a significant cherry tree, and he has placed artwork based on several photos he took during his NYC travels on the walls, pointedly referencing the Bethesda Fountain at Central Park.

One of my favorite flavors of this show is that New York City is also a character, for it’s as much a love letter to the island as it is a contemplation on the big picture.

Lopez’s dialogue reminds one of NYC’s lure, of its magical quality as the center of the universe, its unparalleled cultural offerings, and its encapsulation of hopes and dreams.

“Every summer, waves of college graduates wash up on its shores to begin the struggle toward success and achievement,” one character says, and as the mother of two sons who did just that, it resonated.

Of course, people will compare this to the landmark “Angels in America: A Gay Fantasia on National Themes,” whose two parts “Millennium Approaches” and “Perestroika” opened on Broadway in 1993. After all, its themes are metaphorical and symbolic as it explored AIDS and homosexuality in the 1980s.

“The Normal Heart” by Larry Kramer is another touchstones – addressing the rise of the HIV/AIDS epidemic in New York City between 1981-1984.

These bellwethers inform and add emotional depth to this exercise, for advocacy isn’t confined to the past, a crucial message.

Tyson Cole is Adam and Leo. Photo by FF.

Warning to the audience: Because part of the show takes place in 2016 with social liberals re-enacting election night shock (and for some, horror), that could conjure up some “things.”

Depictions of relationships include frank dialogue and stylized moves for sexual encounters. Adam’s lengthy explicit monologue about a euphoric erotic experience in a gay bathhouse in Prague leads to a terrifying realization of the danger of unprotected sex, and immediate action with PrEP (pre-exposure prophylaxis, medicine taken to prevent HIV).

The supporting players are lively and animated, and transform into whatever they are tasked with, which adds to the show’s unique appeal. For instance, Kevin O’Brien shifts into two parts as one of Henry’s spoiled entitled sons and Eric’s fiery progressive activist boss Jasper.

Kelvin Urday and Nic Tayborn are funny as an anxious singular-focused couple expecting a baby through a surrogate. Jacob Schmidt and Sean Seifert are young Walter and Henry. Stephen Henley is the other spoiled entitled son of Henry. Donald Kidd is Tristan and Margery Handy is Margaret, and they both factor into Part 2.

While the subject matter is serious, levity is present, including a whole discussion on whether camp is necessary as an ostentatious example of gay-ness.

This massive undertaking has involved the outstanding skill sets of many local technicians – lighting designer Tony Anselmo, sound designer Jacob Baxley, technical director Kevin Sallwasser, assistant director Dani Mann, stage manager Rachel Downing, production manager Sarah Baucom and dialect coach Mark Kelley – and their accomplishments are noteworthy.

Part I is an extraordinary piece of theatre, enhanced by its fully alive cast and the creative team’s commitment to telling truths in this special way. “Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.

The Inheritance cast. Photo by FF.

This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Tesseract Theatre Company presents “The Inheritance, Parts I and 2” April 26 – May 5 at the Marcelle Theatre, 3310 Samuel Shepard Drive. Part 1 is presented Friday and Saturday, April 26 and 27, at 7:30 p.m., with a Sunday matinee at 2 p.m. April 28. Part 2 is presented Thursday and Friday, May 2 and 3, at 7:30 p.m., with a Sunday matinee at 2 p.m. on May 5. Both Parts 1 and 2 are presented on Saturday, May 4, with Part 1 at 2 p.m. and Part 2 at 7: 30 p.m.

For tickets, visit: https://www.metrotix.com/events/detail/the-tesseract-theatre-company-the-inheritance

Take Ten with Stephen Peirick

Take Ten with Stephen Peirick


By Lynn Venhaus

A longtime multi-hyphenate in St. Louis, actor, director and playwright Stephen Peirick’s latest challenge is a very personal and special experience for him, what he describes as a “dream opportunity.”

As director of the regional theater premiere of the Tony-winning “The Inheritance,” he said it’s not only an honor and privilege to be a part of the work, but described the production as an “embarrassment of riches” because of his “hands-down brilliant” cast.

Tesseract Theatre Company will present “The Inheritance, Parts 1 and 2” by Matthew Lopez April 26 to May 5 at the Marcelle Theatre in Grand Center. There is one day, May 4, where both parts will be presented. For more information, visit www.tesseracttheatre.com and tickets are available at MetroTix.

Peirick is working with Tesseract for the first time. Taylor Gruenloh, former founder and artistic director, said he first thought of Stephen while reading the play, and locked him in to make it happen.

“As soon as I read that play, it reminded me of all the work Stephen was doing in town. And knowing how passionate he is about this kind of subject matter made it important to know he was at the helm before the rights were secured,” Gruenloh said.

The Daily Telegraph said it was “perhaps the most important American play of this century.” The play is based on “Howard’s End” by E.M. Forster and takes place in New York City decades after the AIDS epidemic, as three generations of gay men attempt to forge a future for themselves amid turbulent and changing America.

“This play doesn’t deny the pain of our experience.. it allows people to remember how we have gotten this far, what it’s like to fight, and who we have lost along the way. That sometimes our best weapon is our sense of humor, is our wit, is our intelligence, and is the love we have for each other,” said playwright Matthew Lopez.

Gabriel Paul and Chris Kernan. Photo by Tesseract Theatre Company.

Eric Glass (Chris Kernan) is a political activist engaged to his writer boyfriend, Toby Darling (Gabriel Paul). When two strangers enter their lives — an older man and a younger one — their futures suddenly become uncertain as they begin to chart divergent paths. This is an epic examination of survival, healing, class divide, and what it means to call a place home.

Besides Kernan and Paul, “The Inheritance” cast includes Tyson Cole, Stephen Henley, Jon Hey, Donald Kidd, Alex Moore, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, Kelvin Urday, and Margery Handy. Assistant Director is Dani Mann.

Among its accolades, “The Inheritance” won the 2020 Tony Award for Best Play., the 2020 Drama Desk Award for Best Play and the 2019 Olivier Award for Best Play.

​This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Peirick has been working with Stray Dog Theatre for years, and has performed and directed at West End Players Guild and performed with Union Avenue Opera in “Lost in the Stars.” He also works with Take Two Productions, a community theatre.

He is known for writing original plays as well, and has received nominations for Best New Play from the St. Louis Theater Circle for “Wake Up, Cameron Dobbs” and “Four Sugars.”

Last year, the Circle nominated him for his performance as Ned Weeks in “The Normal Heart” and several years ago for “The Doll’s House.”

He has also been nominated for the local community theatre Arts for Life awards for directing, lighting design, choreography and scenic design — winning the latter for Fun Home with Take Two Productions.

Next up is directing “Merrily We Roll Along” for Take Two Productions, which will be presented in September and October.

Stephen as Ned Weeks in “The Normal Heart,” with Joey Saunders, at Stray Dog Theatre in 2022. Photo by John Lamb.

Take Ten Questionnaire with Stephen Peirick

1. What is special about your latest project?

Larry Kramer masterfully wrote the brilliant play The Normal Heart, which detailed his experiences fighting for the gay community during the AIDS crisis in the 1980s. When I first saw Kramer’s play in 2011, it amplified a history I had been almost entirely ignorant of. It was a humbling moment as a gay man: an embarrassing privilege of my age. Kramer’s play inspired me to want to share this history with the world, and in particularly with the next generation of queer youth.

Our history is important. We are important. Matthew Lopez’s first-rate epic The Inheritance goes one step further, by asking audiences to ponder not only what we owe the generation who came before us, but what will we leave behind for the generation to come?

It’s not often that you get asked about your interest in directing a two-part epic – this has been a dream opportunity. It has been my incredible honor and privilege to direct the St. Louis premiere of this Tony-Award winning play.

And then, on top of it, to get to work with a hands-down brilliant local cast (Tyson Cole, Nic Tayborn, Sean Seifert, Jacob Schmidt, Stephen Henley, Donald Kidd, Kevin O’Brien, Kelvin Urday, Chris Kernan, Gabriel Paul, Alex C. Moore, Jon Hey, and Margery Handy) and an exceptional behind the scenes team (Dani Mann, Rachel Downing, Amanda Brasher, Abby Pastorello, Tony Anselmo, Jacob Baxley, Sarah Baucom, Kent Coffel, Kevin Sallwasser, as well as Tesseract’s Creative Directors Brittanie Gunn and Kevin Corpuz): this show has been an embarrassment of riches for a director. A special experience, for sure.

2. Why did you choose your profession/pursue the arts?

Because I can’t NOT pursue it. (I would be so much more well-rested if I just stay away!) At the end of the day, I’m a storyteller trying to get better at this craft. Whether I’m directing, acting, or writing…I have a passion for creating, and no matter how tired I get, I keep going back for more.

As George in “Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre in 2023, with Stephen Henley and Claire Wenzel. John Lamb Photo.

3. How would your friends describe you?

First and foremost, I think they’d say I was hot. And also, probably…hilarious. Okay; maybe they wouldn’t say either of those things unprovoked…or at all. But in my mind, those are the two compliments they are always ABOUT to share with me…before they get distracted by something else and forget .

4. How do you like to spend your spare time?

What is that? Spare time? Alas…should I ever find it again, I’d love to get back to writing.

5. What is your current obsession?

The Inheritance. I literally have no time for anything else. But once the show has come and gone, I love to spend summers outside…I love lounging in a pool, and enjoying R & R time. I love to find and read new plays, and I’m always on the lookout for some good Halloween décor. I track what’s playing in NYC, both on Broadway and Off…and I love reality television, or binding scripted shows.

6. What would people be surprised to find out about you?

If I told you, it wouldn’t be a surprise.

7. Can you share one of your most defining moments in life?

Seeing my sister’s high school production of The Diary of Anne Frank when I was six or seven. It ignited in me my love for live theatre. When I look back on my life, I think it was the very beginning moment of this whole journey.

8. Who do you admire most?

My mom was, no doubt, the most influential person on me. She passed away nearly 10 years ago, and I miss her everyday, and I can’t help but wonder what she would think of the work I’ve done over these years.

Lavonne Byers, Stephen Peirick and Laurell Stevenson in “Good People” at Stray Dog Theatre in 2022. Photo by John Lamb.

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

I was just getting ready to return to the stage as an actor (after having taken a year off) when the pandemic hit. Like for everyone else, it caused so much disruption to projects I had in the pipeline. Most of them still got to happen, although after a long delay, including directing Fun Home with Take Two Productions, and playing Mike in Good People and Ned in The Normal Heart for Stay Dog Theatre.

The Normal Heart was my dream project, and had been since 2011, so the fear that it would never get to happen, and that the arts might never recover was real.

I think it’s important to go see and support live theatre as one’s schedule (and wallet) allows. Volunteer to usher, and post to the socials when you go see work. Help your friends and family see that it is safe to return to the theatre, and that good things are happening. (And masks are still welcome in any theatre you might want that added layer of protection.)


10. What is your favorite thing to do in St. Louis? (Or your hometown)

I love to be immersed in our local arts scene as much as possible. This month alone, I saw productions with Stray Dog Theatre, The Rep, Clayton Community Theatre, and St. Louis Shakespeare. I love hitting up restaurants (The Tavern is a favorite for special occasions), and spending time with friends and family.

12. What’s next?

Next up, I am directing the musical Merrily We Roll Along for Take Two Players. This dynamic and rarely produced musical is currently having an incredible run on Broadway. Running for two weekends in September and October, our cast features an incredible group of local talent, including Ryan Farmer, Grace Langford, and Michael Baird in the central roles of Frank, Mary and Charlie. www.taketwoproductions.org

Stephen Peirick and husband Jon Hey. Photo by Lynn Venhaus

More Information on Stephen Peirick
Birthplace: Franklin County, MO
Current location: St. Louis
Family: I am married to the incredible Jon Hey, and we have three cats: Kona, Poppy and George. I have four older sisters, three nephews, two nieces, two great nephews and two great nieces.
Education: BA in Communications/Theatre with a minor in Education
Day job: I have spent the last 15+ years working for a state association. I create our online newsletters, content for our socials, etc., and appreciate working for an organization that understands and supports my passion for the arts.
First job: I was a Ticket Taker at Six Flags when I was 15 years old.
First play or movie you were involved in or made: The first real, non-grade school Christmas play I did was a courtroom drama called The Night of January 16 when I was a freshman in high school.
Favorite jobs/roles/plays or work in your medium? Playing Ned Weeks in The Normal Heart at Stray Dog Theatre was such a dream; and seeing the premiere of my first, full-length play (in 2012 at West End Players Guild) Wake Up, Cameron Dobbs is something that I will never forget.
Dream job/opportunity: Taking Wake Up, Cameron Dobbs to New York maybe?
Awards/Honors/Achievements: I have been nominated for four St. Louis Theatre Circle Awards; two for acting (The Normal Heart and A Doll’s House) and two for writing (Wake Up, Cameron Dobbs and Four Sugars). I have also been nominated for our local, community theatre Arts for Life awards for directing, lighting design, choreography and scenic design (winning the latter for Fun Home with Take Two Productions).
Favorite quote/words to live by: Tell your story bravely. It’s a story worth telling.” – Morgan, The Inheritance
A song that makes you happy: I love 80s music. Here I Go Again by Whitesnake is a fave.

Stephen Peirick and Nicole Angeli in Stray Dog’s “Hedda Gabler” in 2017. Photo by John Lamb.
“Art” outdoors at Stray Dog, with Ben Ritchie and Jeremy Goldmeier in 2021. Photo by John Lamb

Riveting Mind Games and Bravura Performances in Stray Dog’s ‘Who’s Afraid of Virginia Woolf?’

Riveting Mind Games and Bravura Performances in Stray Dog’s ‘Who’s Afraid of Virginia Woolf?’

By Lynn Venhaus
Stray Dog Theatre goes for the gusto in a blistering, shattering “Who’s Afraid of Virginia Woolf?” that features bravura performances and a fresh perspective on one of the landmark intellectual works of the 20th century.

Edward Albee’s 1962 dramatic comedy is divided into three acts that bristle with tension and increasingly unsettling confrontations are staged during a long night’s journey as two married couples peer into the abyss.

Passive-aggressive George (Stephen Peirick), an associate history professor at a small New England college, appears to be a milquetoast foil for his brassy and sassy wife, Martha (Mara Bollini), the attention-seeking daughter of the college president. After a faculty party, she has invited another couple back to their home on campus for more cocktails and conversation.

Nick (Stephen Henley) is an ambitious biology professor who is married to a sweet and naïve Honey (Claire Wenzel). They become ensnared in their dysfunctional hosts’ “Fun and Games” in Act One, as drinks flow into the wee hours of the morning and the booze-influenced patter grows uglier.

Wenzel, Henley. Photo by John Lamb

As the volatile middle-aged George and Martha viciously taunt each other, cracks in the young couple’s seemingly pleasant life are revealed, and the older couple is ready to pounce for sport. This isn’t their first rodeo. He seethes, she rages.

Everyone’s had a similar uncomfortable feeling around a bickering couple before, uneasy about the lack of a filter and polite behavior. Eager to please, the young folk stay, but as it gets later, it’s to their detriment – Nick is too power-hungry and Honey too vulnerable. Because the next act gets more disturbing, and the regrets start to pile up.

Act Two, titled “Walpurgisnacht,” is a reference to Christian missionary Saint Walpurga, who was known to repel witchcraft and helped convert Germany from heathenism. Known as an annual witches meeting, it typically takes place April 30, and there is a much longer backstory to know. Albee uses it for satirical reference. Of course.

Albee has the men argue more, and the insults begin. Martha will embarrass George’s literary efforts – with Bollini employing a haughty, degrading laugh meant to ridicule her husband. In turn, George becomes more contemptuous of the couple, devising a new game, “Get the Guests.”

Honey, drinking too much brandy, has a finicky stomach and becomes sick a couple times during these alarming encounters. Martha starts acting seductively towards Nick, which brings up more concerns.

Act Three, bluntly titled “The Exorcism,” is a devastating showcase of pain, pride, and purgatory. It takes on an eeriness not unlike a horror thriller, and sound designer Justin Been helps enhance a sense of danger and drama through cinematic score snippets that separate each act.

“Bringing Up Baby” is the next cruel game George demands they play. And they will reveal details about their son, which is complicated. This is by far the most destructive segment of the show, but also a twisted form of catharsis.

Using his wit and clever wordplay, Albee crafted a tragic circumstance around everyone’s illusions – how they see the world and how their inadequacies are part of their daily codependent lives. Their falsehoods are at times unclear, as Albee wanted to point out how society’s norms impede honesty. And their failures affect their mental health.

Wenzel, Bollini. Photo by John Lamb

The fact that a play written 60 years earlier holds up so well is a testament to Director Gary F. Bell’s vision.

He has masterfully dissected this emotionally intense play, having the actors fully realize their characters’ psychological portraits by creating more layers and nuance.

These are demanding and difficult incendiary roles, ultimately about survivors, and the actors are up for the challenges, nimble in delivering Albee’s bitter and brittle dialogue. Not a one makes a false move – everyone defines their intentions clearly.

These are four characters with dashed dreams and multiple frustrations, and they take turns being defiant and trying to cling to their dignity.

Establishing a tempestuous dynamic, Peirick and Bollini dig deep for their revelatory gut-wrenching performances, and both are at their career best. Henley provides yet another interesting characterization as confident Nick who finds himself eviscerated. Newcomer Wenzel is impressive in her local debut as the impressionable young wife trying to meet the expectations of an American nuclear family.

The scale of each character’s dreams are vastly different, and it’s stunning to see how quickly things get out of control. The truths are harsh, the partying hard, and the humiliations fester.

Photo by John Lamb

As scenic designer, Bell also capably created the modest worn living room where he fluidly moved the characters so nobody is static – and the bar gets a workout. As costume designer, he aptly outfitted the characters in appropriate career and party attire from that era. Lighting designer Tyler Duenow focuses on lighting several lamps in the interior.

The 1963 winner of the Tony Award for Best Play has enjoyed multiple revivals on Broadway, and this particular version produced by Stray Dog is the published 2005 revised script that starred Kathleen Turner as Martha, Bill Irwin as George, Mireille Enos as Honey and David Harbour as Nick.

This emotional roller-coaster of a production, certain to leave a lasting impression, is riveting throughout – even with its more than three-hour runtime. Adult themes are explored, and profanity is used. There are two 10-minute intermissions.

Stray Dog Theatre presents Edward Albee’s “Who’s Afraid of Virginia Woolf?” from Feb. 9 to Feb. 25, Thursday to Saturday at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104. There will be a Sunday matinee at 2 p.m. on Feb. 19. For more information, visit www.straydogtheatre.org.

Photo by John Lamb

Stray Dog’s Brave, Fierce ‘The Normal Heart’ Is Not Just History, It’s Personal

Stray Dog’s Brave, Fierce ‘The Normal Heart’ Is Not Just History, It’s Personal

By Lynn Venhaus
At once an urgent call to action, historical political drama, and heart-wrenching story of love and friendship, “The Normal Heart” captures a specific time and place while resonating as a cautionary tale.

With an ensemble cast devoted to making every emotional beat authentic, Stray Dog Theatre’s brave and fearless production chronicles the growing AIDS crisis in New York City from 1981 through 1984, and how badly it was bungled.

It was a harrowing time, and gay activist Larry Kramer’s 1985 mostly autobiographical play is haunting as it conveys the confusion and chaos.

This work is a gripping account of how leaders in the gay community fought an indifferent, inefficient, and ineffective political system that ignored their plight until they couldn’t, as deaths were escalating in alarming way.

With a keen eye on the bigger picture, the company’s artistic director, Gary F. Bell, shrewdly directed principal character Ned Weeks’ journey from angry protestor to frustrated and furious advocate demanding change. It’s not just history, it’s personal.

During the early 1980s, Bell lived in New York City as the acquired immunodeficiency syndrome began decimating a terrified gay population. With the early years of another global pandemic not yet in the rearview mirror, Bell builds on that lack of knowledge and awareness to be relatable.

Many homosexuals were forced to live a closeted life, for fear of retaliation and being ostracized, or fired at work, or target of hate crimes. It was a very different time. And then, as the HIV/AIDS outbreak spread, so much fear and ignorance added fuel to the misunderstandings.

For those who remember living in the shadows 40 years ago, the pain of being unseen, unheard and dismissed during a growing public health crisis is palpable. Others who have been marginalized can identify, too.

Sarjane Alverson and Joey Saunders. Photo by John Lamb

Bell’s lean, cut-to-the-chase presentation focuses on perspective for the look back while being mindful of current parallels so that it feels contemporary and fresh.

In his best work to date, Peirick, a Stray Dog regular, brings an in-your-face intensity to Ned’s mission to make sense of what is happening while confusion reigns in the medical, political, and social circles in his orbit.

He shows how frightened Ned is for those around him, and how his laser-beam attention isn’t immediately shared by peers, much to his dismay. He pushes, he’s abrasive, he’s relentless – and eventually, he rattles the right cages and rallies others to see how the clock is ticking.

Newcomer Joey Saunders plays Felix Turner, a New York Times fashion writer who becomes involved in a serious relationship with Ned. When he is diagnosed with AIDS, how he deals with the decline from symptoms to the illness taking over his life is gut-wrenching and makes it deeply personal.

The other guys view their roles as important vessels, a duty they take seriously, as they all “go there,” daring to plumb emotions for a stunning depth of feeling.

In a dramatic turn as banker Bruce Niles, Jeffrey Wright pours out his anguish to tell how his lover died and the humiliation that followed, while Jon Hey melts down as the overwhelmed Mickey Marcus, frustrated by the lack of results.

It’s impossible not to be moved or not care about these people, to get into their heads and hearts as they confront the biggest health crisis of their time.

Stephen Henley, Jeremy Goldmeier, Stephen Peirick and Jon Hey. Photo by John Lamb

Characters get sick and die. Their lovers, co-workers, friends and family show symptoms and it doesn’t end well. Or those people refuse to accept and believe what is really happening.

Stephen Henley brings compassion to the Southern-style Tommy Boatright and Michael Hodges plays the dual roles of Craig Donner and Grady.

Three portray outsiders that are integral to the story.

A perfectly cast Sarajane Alverson is strong as Dr. Emma Brookner, who is in a wheelchair from childhood polio – a powerful visual. She is a crucial character who delivers the medical findings and sounds alarm bells

Jeremy Goldmeier has the thankless task of being the hard-edged municipal assistant Hiram Keebler and David Wassilak is buttoned-up Ben Weeks, Ned’s distant lawyer brother.

The austere set optimizes a growing set of file boxes as the HIV/AIDS cases surge and death toll mounts. Justin Been handled the scenic design and the sound work, punctuating the heightened emotions with dramatic instrumental music.

Kramer, always demanding, wanted to move the needle on tolerance and acceptance, which is why, 40 years later, this play has a far-reaching impact.

It is always hard to see so much time and energy spent on hate, even in historical context, but through art, there is also a glimmer of hope.

A play this pertinent has expanded its purpose at a time when we need to pay attention, for we must never forget. The organizers of today stand on the shoulders of giants, and Stray Dog is providing an important service to a new generation.

Stray Dog Theatre presents “The Normal Heart” from June 9 to 25, Thursday through Saturday at 8 p.m., with a Sunday, June 19, matinee at 2 p.m., at The Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org

Stephen Peirick and Joey Saunders. Photo by John Lamb

Piece of ‘Art’ Provokes Out-of-Tune Friends in Razor-Sharp Comedy

Piece of ‘Art’ Provokes Out-of-Tune Friends in Razor-Sharp Comedy

By Lynn Venhaus
At times, friendship is not always the perfect ‘blendship.’ Case in point: “Art,” a razor-sharp comedy currently being staged outdoors by Stray Dog Theatre through Aug. 21.

A friendship that spans 15 years is strained over a piece of modern art – an expensive, pretentious painting that art snob Serge (Ben Ritchie) has purchased to show off his privilege and to gain status.

The judgmental Marc (Stephen Peirick), who is domineering, snarky and self-righteous, takes one look and is aghast at this presumably “white” canvas.

With his “Are you serious?” reaction, Marc doesn’t hold back his horror, bluntly calling the vanity purchase a “piece of (expletive deleted),” even if Serge paid 200,000 francs for it.

Serge vehemently disagrees. He points out there is texture. It is, after all, by an artist of some note.

Later, they pull their more sensitive friend Yvan (Jeremy Goldmeier) into taking sides, and he, not wanting to rock the boat, offers a “maybe it has merit” viewpoint. Now he is caught in the middle between two alpha dogs.

Yvan’s comments push Marc’s buttons even further, calling into question the conciliatory one’s intellectual acumen – and life choices – because he might see some artistic significance.  

Yvan is a poorer, put-upon chap about to be married, whose life seems to always be stuck in second gear. Anxious about the wedding, keeping both families’ happy, getting acclimated to a new job – it all seems too much for him, and then the two pals draw him into their tiff.  

Serge is a dermatologist, Marc an aeronautical engineer and Yvan, well, he’s not really one with a ‘career’ – he just started working for his future father-in-law in the stationery business.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              

Ben Ritchie, Stephen Peirick and Jeremy Goldmeier in “Art” at Stray Dog Theatre. Photo by John Lamb.

The subjective debate turns into ugly confrontations that devolve into personal attacks, questioning the meaning of friendship and the definition of art. Their opinions – perhaps over-sharing but doubling down on how they feel – cause immediate fractures. Can respect and trust be restored or will the fallout be too much to overcome?

The dialogue is intricate and brings out each character’s distinctive personalities. As mud is flung, the play still retains some good zingers after 27 years.

All Stray Dog regulars, Peirick, Ritchie and Goldmeier settle into a rhythm that reflects their ease of working with each other.

This clever and humorous work by Yasmina Reza, a master at delving into contemporary foibles and a sharp observer of human behavior, was written in 1994.

Christopher Hampton translated it into English. He won an Oscar this past April for adapting another French playwright, Florian Zeller, into a screenplay for the British film, “The Father.”

“Art” opened on Broadway in 1998 after successful runs in Paris and London, winning the Tony Award for Best Play. It starred Alan Alda (Marc), Victor Garber (Serge) and Alfred Molina (Yvan, Tony nominee).

Reza also wrote “God of Carnage,” which won a Tony Award for Best Play in 2009. That show was produced by Stray Dog Theatre in 2015 and featured Peirick.

Re-emerging after a 16-month coronavirus public health crisis, Stray Dog Theatre has chosen well to begin producing shows again for a live audience.

In a wise stroke during these pandemic times, Artistic Director Gary F. Bell moved the production outside at their usual venue, the Tower Grove Abbey. On the lawn is limited, socially distanced seating, and masks are required (city mandate).

The bare-bones outdoor stage, with scenic design by Josh Smith, features two couches to represent the flats of Serge and Yvan – and of course, artwork, relying on its trio of accomplished actors to focus the action on their nimble wordplay.  

Longtime lighting designer Tyler Duenow handled those duties and Justin Been, associate artistic director, provided his usual stellar sound design with acumen for appropriately selected music

The dialogue is challenging, and the actors must shift tones, delivery and their body language while staying true to the characters, no easy feat. The trio hit their stride – despite after such a long absence from the stage – and retain the play’s acid bite.

Goldmeier is splendid at portraying a sad sack trying to avoid confrontation and scrutiny. It’s obviously not his day, week, month or even year. His emotional fragility and near-meltdown are played for laughs, and Goldmeier adroitly handles the mood swings – and his complicated monologues.

Peirick conveys the tightly wound traits of Marc, while Ritchie delivers a nuanced portrait of a sophisticate, holding his ground about his beliefs and acquisitions.

Marc will go on to question everything – including choice of restaurant for dinner — mostly in a sarcastic, irritated tone. It’s clear that Serge thinks he is intellectually superior to his friends, and more cultured, while Yvan has valued their companionship, especially in light of his messier life.

Keenly in tune with the material and his actors’ capabilities, Bell has smoothly directed the show.

“Art” is a provocateur, questioning our thoughts on art, relationships and modern society. It’s a refreshing conversation starter for anyone craving intellectual stimulation and presented in a safe setting for an evening of entertainment.

Stephen Peirick, Ben Ritchie in “Art.” Photo by John Lamb.

“Art” runs about 90 minutes without intermission. The Stray Dog Theatre presentation is Thursdays through Saturdays at 8 p.m., Aug. 5-21, with an additional performance on Sunday, Aug. 15 at 8 p.m., outdoors on the lawn at Tower Grove Abbey, 2336 Tennessee Avenue. The seating pods of 2 and 4, for only 40 guests, will be filled from front to back, in guest arrival order, starting a half hour before curtain.  For tickets or more information: straydogtheatre.org or call 314-865-1995.

All staff and crew will be wearing masks. Actors will not be wearing masks but are required to be vaccinated to work at Stray Dog Theatre. All guests, vaccinated or not, are asked to wear masks now that a city mandate is in effect.

FYI – Four of the remaining seven shows are sold out.

Stray Dog Theatre Triumphs with Inventive Staging of ‘Lobby Hero’

Stray Dog Theatre Triumphs with Inventive Staging of ‘Lobby Hero’

By Lynn Venhaus

A triumph in the ‘new normal’ was a sight for weary eyes when Stray Dog Theatre boldly went where no one else has in regional professional theater to produce an intimate, absorbing “Lobby Hero” by Kenneth Lonergan.

With live theater being one of the harshest casualties of the pandemic, watching any kind of online production has been such a welcome respite from the world’s troubles. I have enjoyed all the creative attempts to produce art, from clever Zoom plays to a mash-up of archival footage and musical acts, to radio plays and staged readings. I admire the efforts that artists are willing to take, to make art accessible through digital media. As someone who is leery of crowds during the public health crisis, being able to stay connected to people I admire for their willingness to take risks and see what happens has been a great joy. After all, theater fans cannot live on “Hamilton” replays alone on Disney Plus.

So, after shutting their doors for the remainder of the 2020 season in May, Stray Dog Theatre came up with an unconventional plan to take the four actors already cast in the drama, put them into innovative pods for their safety, space them apart at the Tower Grove Abbey, record it and make a video link available through a service. It sounded exciting because we could see it after all – and without crowd restrictions or safety worries.

The play had been scheduled for June and was one of my most anticipated shows of the season (big Lonergan fan). For the new venture, free reservations could be made to see it July 27 – 31 and people were given 72 hours in which to view it, but the cut-off was 11:59 p.m. on the last night. This audio-visual recording was made possible through arrangements with Dramatists Play Service and the playwright, and donations could be accepted. Everything was seamless – reservation confirmed, link emailed, quick connection, and then, magic happened.

The play takes place in the lobby of a Manhattan apartment building. Four people’s lives intersect through their work – two security guards and two police officers on the night shift, and then are drawn into a murder investigation. These three men and one woman have distinct personalities that emerge, ordinary people who must confront moral dilemmas and ethical behavior through conflicts with each other. Lonergan is so good at revealing layers and the late-night conversations have a genuine intimacy.

Lobby Hero at Stray Dog Theatre. Photo by Justin Been

What a finely tuned quartet the performers were: Jeremy Goldmeier as Jeff, a hapless regular joe, just trying to find his way in the world but usually unlucky in life; Abraham Shaw as William, Jeff’s strict supervisor, frustrated by the failure that surrounds him – his knucklehead employee and his troublemaker brother (unseen), when all he is trying to do is succeed; Stephen Peirick as Bill, an obnoxious married police officer who abuses his power and thinks he deserves respect as a big shot; and Eileen Engel as Dawn, a rookie officer enamored with Bill but also trying to prove that she fits in to a macho man’s world.

They each have various degrees of ambition, and that is transparent. Their feelings will become apparent as they talk to each other, from initially shooting the breeze to thornier statements as details of a murder unfold. A nurse with three young children has been brutally raped and killed by a group of thugs. William’s brother is a suspect. How far will he go to protect him? Talkative and lonely, Jeff has taken a shine to Dawn, but she is enamored with Bill, until evidence of sexual misconduct is revealed. Dawn’s only been on the force for three months and has a lot to learn.

It was if I was sitting in a pew, the four well-rehearsed actors seamless in conveying multi-dimensional characters. The smart, sharp ensemble delivered dialogue-dense exchanges that went from casual to probing, puzzling to skeptical, pleasant to peeved. Loyalties swiftly shifted. Director and Artistic Director Gary F. Bell escalated the growing tensions well and shrewdly moved the players around. The fade technique worked well as exits.

With its relevance to today’s social issues, you would not realize it was a generation removed, written in 2000. And Goldmeier – in what might be his best work – makes us see every tic of his turmoil. He wants to do the right thing – but is he capable? He is intimidated by blustery Bill, who likes to throw his weight around, and wants desperately to please his boss. When William confides in Jeff, they seem to become friends.

The actors worked so well together, building the emotional energy Bell was seeking. Peirick plays well against type, being an entitled jerk, while Engel holds her own with the guys, talking tough with a torrent of profanity. She’s tiny but mighty in navigating her way in an obvious man’s world.

And, like so many key turning points, it comes down to secrets and lies. In 1808, Sir Walter Scott wrote “oh what a tangled web we weave when first we practice to deceive,” and it still holds true today. Stories unravel, truths unfold, betrayals sever relationships and life gets rather messy for each of the four. They learn the hard way that there are consequences to actions.

Justin Been has proven he is quite a visionary and his remarkable technical skills were on display again. As associate artistic director and production manager, he added imaginative touches, through music and modern graphics. He evoked the location with black-and-white scenes of New York City. He and Bell had come up with the pod idea, executed by set designer Josh Smith.

 “Lobby Hero” was produced off-Broadway in 2001, after Lonergan had been Oscar-nominated for the screenplay to “You Can Count on Me.” Lonergan would finally make it to Broadway in 2014 with “This Is Our Youth,” a Steppenwolf revival of his 1996 play starring Michael Cera and Kieran Culkin. I was fortunate to see it at the Cort Theatre then, a memorable experience. Lonergan has a knack for creating vivid roles through conversations, and the gifted actors didn’t miss a beat in crafting familiar, relatable characters. After winning the Oscar for his “Manchester by the Sea” original screenplay in 2016, Lonergan oversaw a remount of  “Lobby Hero” in March 2018 at the newly renovated Hayes Theatre on Broadway, starring Michael Cera as awkward Jeff and Brian Tyree Henry as stern William (both Tony Award nominees), Chris Evans (yes, Captain America) as the compromised police officer Bill and Bel Powley as feisty Dawn.

Stray Dog hopes to be back with their season in February 2021, if all is safe to do so. They may even return virtually with another innovative project. “Lobby Hero” was a perfect choice to stage the inventive way they did.

If you need information, contact them directly by email at [email protected] or by phone at (314) 865-1995.

Stray Dog Theatre to Stream ‘Lobby Hero’ on Demand July 27-31

Stray Dog Theatre to Stream ‘Lobby Hero’ on Demand July 27-31

Stray Dog Theatre (SDT) will stream “on demand” Lobby Hero through most web browsers between 12:01 a.m. on July 27 and 11:59 p.m. on July 31, 2020. Participation is limited to the first 750 reservations, and will be handled on a first-come, first-served basis.

Please note: While you have the freedom to use your reservation at any point during the dates listed above, you will only have 72- hours to finish viewing the production once you begin streaming. Reservations and viewings for Lobby Hero are free, and available beginning at 12 noon on Saturday, July 18, 2020 by visiting, www.straydogtheatre.org. In this time of COVID-19, SDT understands how important having accessible art is for audiences and artists alike.

Jeremy Goldmeier in “Lobby Hero.” Photo by Justin Been

While SDT’s production of Lobby Hero is complimentary, a donation would be gratefully appreciated. Lobby Hero Synopsis: Loyalties are strained to the breaking point when a hapless security guard is drawn into a local murder investigation; a conscience-stricken supervisor is called to bear witness against his troubled brother; and a naive rookie cop must stand up to her formidable male partner. Truth becomes elusive and justice proves costly.

Stray Dog Theatre Artistic Director Gary F. Bell directs the cast featuring Eileen Engel, Jeremy Goldmeier, Stephen Peirick, and Abraham Shaw. By partnering with Surfcode and utilizing their platform PlayPlay.tv, audiences will be able to enjoy Lobby Hero, which was recorded live, on the SDT stage, in real-time, with each actor inside an individual custom built acting booth. Rehearsals for this production were held in compliance with both state and local ordinances, including temperature checks, required face coverings and social distancing.

This Audio & Video recording was produced by special arrangement with Dramatists Play Service and Kenneth Lonergan. All rights reserved. This performance is authorized for non-commercial use only. By accepting the Audio & Video recording, you agree not to authorize or permit the Audio & Video recording to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.

WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, Audio & Videotapes or Audio & Videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine.

Hawthorne Players Announce Shows for 74th Season

Hawthorne Players Announce Shows for 74th Season

Hawthorne Players has announced that they will present “A New Brain,” “Footloose” and “The Dining Room” during their 74th season in 2019.
“A New Brain” will be performed April 5 – 14, to be directed by Stephen Peirick. Auditions will be held Sunday, Nov. 4.
Music and lyrics are by William Finn, with book by Finn and James Lapine. It’s about an energetic, sardonic, often comical musical about a composer during a medical emergency. Gordon collapses into his lunch and awakes in the hospital, surrounded by his seafaring lover, his mother, a co-worker, the doctor, and the nurses. Reluctantly, he had been composing a song for a children’s television show that features a frog, Mr. Bungee. The specter of this large green character and the unfinished work haunts him throughout his medical ordeal.

“Footloose the Musical” will be the summer music, to be stages Aug. 2 – 11, and directed by Larry D. Quiggins. The stage adaptation of the movie is by Dean Pitchford and Walter Bobbie, based on Pitchford’s original screenplay. Music is by Tom Snow, with lyrics by Dean Pitchford. Additional music is by Eric Carmen, Sammy Hagar, Kenny Loggins and Jim Steinman.

Based on the movie full of Top 40 hits and with dynamic new songs! Ren and his mother have moved from Chicago to a small town. As the new kid, he finds himself at odds with most of the town and struggles against the local preacher’s ban on dancing. When the reverend’s rebellious daughter sets her sights on Ren, her boyfriend tries to sabotage Ren’s reputation. What emerges is a heartfelt story of longing.

“The Dining Room” by A.R. Gurney will be presented Nov. 1 – 10, directed by Lori Renna.

Once the center of family life, the dining room has become an endangered species in many modern households. Written by the creator of Love Letters, this play challenges a small group of actors to portray numerous roles of all ages and backgrounds. These vignettes of upper-middle-class family life from not long ago create a theatrical experience of exceptional range, compassionate humor and abundant humanity.

On Dec 14, 2019, we will also have two performances of our Best of Hawthorne: Songs of Christmas benefit for the Duckie DeMere Scholarship Fund.
Visit their Facebook page or website to find out more about auditions and when tickets go on sale!www.HawthornePlayers.com.