By Lynn Venhaus
The laughs come in waves as wackiness ensues in “The Nerd,” a fizzy farce that showcases a nimble seven-member cast at their best.

Set in architect Willum Cubbert’s bachelor apartment in Terre Haute, Ind., in November 1981, what starts out as a typical drawing room two-act play soon turns into an outrageous comedy of manners that’s at once timeless and old-fashioned — but in a charming early ‘80s way. (Answering machine messages are a part of the humor).

Now on stage at the Strauss Black Box Theatre in the Kirkwood Performing Arts Center, the Moonstone Theatre Company’s fleet production accents the laugh-out-loud circumstances and plays up the absurd character traits in playwright Larry Shue’s clever classic.

As played by Oliver Bacus, Cubbert is an anxious people-pleaser. His two best buds are a snobby theater critic named Axel and an ambitious ‘weather girl’ named Tansy (also former girlfriend), who are moving along with their careers while he’s, well, ‘stuck in second gear’ to use The Rembrandts’ lyric to “I’ll Be There for You” (aka the “Friends” theme song).

And like that ensemble that just clicked together, Bacus, Bryce Miller and Bridgette Bassa are a tight trio, effortlessly conveying a realistic friendship and establishing their distinct personalities as the unusually named Willum, Axel, and Tansy.

Oliver Bacus, Bridgette Bassa, Bryce Miller. Photo by Jon Gitchoff

Miller adds the sour and Bassa brings the sweet to the mix. Miller superbly lobs sarcastic one-liners and keeps the disdain brewing as he demonstrates his adroit comedic skills.

Bassa, who has been memorable in such dramatic roles as the rebellious niece Jean in “August: Osage County” and as Billy’s girlfriend Sylvia in “Tribes,” both at St. Louis Actors’ Studio, shows her comedic chops again after appearing in “Grand Horizons” at Moonstone in March.

Noteworthy is her agility during back-and-forth trips between the kitchen and the living room while carrying food, keeping the show’s fast pace on track. And she is stylish encapsulating the typical early ‘80s chic career woman look by costume designer Michele Siler, along with the requisite big hair.

Willum’s concerned friends think he is too nice of a guy, and they encourage him to have more of a backbone because those habits have affected his decision-making. Nevertheless, he is trying to advance his career and persuade Tansy to resume their relationship and not move for a job elsewhere.

Ever loyal, Willum, a Vietnam War veteran, has talked about what he owes fellow soldier Rick Steadman for saving his life. During his ‘Nam service, he was seriously wounded, and while he never met the good Samaritan Rick, he feels indebted to him. In a letter, he wrote that as long as he was alive, Rick “will have somebody on Earth who will do anything for you.”

Ryan Lawson-Maeske, Photo by Jon Gitchoff.

Eager to collect the favor, Rick shows up one night, in the middle of a rather uncomfortable dinner party as Willum is trying to impress his hotel-owner client, who brought his wife, clearly ill at ease, and their rambunctious, spoiled son.

Weird timing, but Willum rolls with it, until he discovers just how peculiar Rick is and how disruptive he can be while staying as his houseguest. Pre-technology boom, the “nerd” definition was slightly different 42 years ago, and Ryan Lawson-Maeske embodies the socially inept, tone-deaf, unrefined guy in a full-throttle performance.

Accentuating the character’s oafishness, Lawson-Maeske affects a nasal, sing-song voice delivering goofy lines in a tactless way, and creating an awkward walk, so that his cadence and gait are funny no matter what he’s saying.

Bacus capably assumes the blander ‘straight’ man role because the eccentric people surrounding him need to standout. As an increasingly frustrated Willum, he feels put-upon, because this is a circus thrust upon him and people around him are demanding action in this escalating tug of war.

His exasperation and agitation grow as The Thing That Wouldn’t Leave wreaks havoc on his life. It all comes to a head when his friends concoct a ridiculous ‘foolproof’ scheme to send Rick on his merry way, and his domineering client is demanding immediate changes to his blueprints.

Kieran Thompson, Leslie Wobbe, Greg Johnston and Oliver Bacus. Photo by Jon Gitchoff.

It’s a tour-de-force comedic portrayal by the versatile Lawson-Maeske, who can easily move between comedy and drama on St. Louis stages. He fully commits to the madness, finding the sweet spot so that the growing animosity towards Rick’s obnoxious behaviors isn’t perceived as cruel, being hurtful to a hopeless cause.

Presenting the ‘work’ part of the dilemma is the irritating Waldgrave family, utilizing the synergy of veterans Greg Johnston as the blustery hotel magnate and Leslie Wobbe as his fretful wife, with Kieran Thompson displaying youthful energy as their bratty kid Thor.

Shue wrote two highly regarded comedies before his untimely death at age 39 in a commuter plane crash in 1985 — “The Nerd,” produced first in 1981, and “The Foreigner,” in 1984.

At first glance, the plays seem like tailor-made laugh fests with clever turns of phrase. Shue was gifted with remarkable verbal dexterity, and adds idiosyncratic touches – not just the odd names, but Rick is a factory chalk inspector? Tansy, playing hostess, brings out heaping bowls of three-bean salad and macaroni salad — quirky choices.

But Shue also underlined the human condition in such a way that we can relate. How many times do we need a push in life, that we must get out of our way to move forward?

With this ace cast under the shrewd and sharp-witted direction of Gary Wayne Barker, you expect a madcap romp but may be surprised by the heart the players have mustered, and what it has to say about work-life balance.

The ensemble moves easily around the nondescript apartment set designed by Dunsi Dai, with recognizable retro touches. While that is static, this cast is anything but, and their proficiency in making jokes land is admirable. Their timing is so crisp it doesn’t tip off any twists, either.

 And I doubt anyone in the audience will be wanting cottage cheese any time soon.

Greg Johnston, Bridgette Bassa, Leslie Wobbe, Oliver Bacus and Bryce Miller. Photo by Jon Gitchoff.

Moonstone Theatre Company presents “The Nerd” July 6 – July 23 on Thursdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m. in the Strauss Black Box Theatre at KPAC, 210 E. Monroe. General admission tickets are $40, with seniors $35 and students $15. For more information, visit moonstonetheatrecompany.com or call MetroTix at 314-534-1111.

Ryan Lawson-Maeske. Photo by Jon Gitchoff.

This season’s exhilarating offerings feature contemporary plays by Madhuri Shekar  and Dominique Morisseau, classics by Noël Coward and Agatha Christie,  a musical tribute to Stephen Sondheim and the return of ‘A Christmas Carol’ 

The Repertory Theatre of St. Louis (The Rep) Augustin Family Artistic Director, Hana S. Sharif, and Managing Director, Danny Williams, are excited to announce the 2022-2023 show lineup for the 56th Season. The Rep is thrilled to welcome audiences back this fall with a season filled with world-class productions, a joyful mix of classics featuring tributes to theatrical icons, and new work from powerhouse voices of the 21st century.

The 2022-23 Mainstage Season kicks off in August with the highly anticipated House of Joy by Madhuri Shekar – an action-packed fantasy filled with romance and lots of girl power. In late-September, journey down the 1930s French Riviera in Noël Coward’s Private Lives, a scathing sendup of the British upper class. Just in time for the holidays, The Rep rings in the spirit of the season with the second annual production of the magical wintery wonderland of Charles Dickens’ A Christmas Carol adapted by Michael Wilson.

Heading into the new year, The Rep lights up the stage with Steven Sondheim’s, Putting It Together: A Musical Review, featuring many of the legend’s most unforgettable masterpieces. Then stay tuned for Confederates, a time-bending drama fresh off its New York debut from MacArthur Genius Award-Winning Playwright Dominique Morisseau and produced in association with Oregon Shakespeare Festival. Closing out the Mainstage is the timeless Agatha Christie classic, Murder on the Orient Express, adapted for the stage by Ken Ludwig.

Spring 2023 will mark the long-awaited return of the beloved Steve Woolf Studio Series, adventurous theatre for adventurous theatregoers — a provocative and memorable black box experience at the new state-of-the-art Strauss Black Box Theatre in Kirkwood Performing Arts Center (KPAC). Show announcement to come in May. 

“I look forward to inviting new and old friends to our theatre homes to share in the beauty and magic of the wonderful productions that will light up our stages next season,” said Sharif. “As I programmed the 2022-23 season I was inspired by the blossoming life of spring. From our reinvestment in the arts to the renewal of our commitment to the St. Louis community; my goal was to provide an array of productions that align with our mission of sharing entertaining and thought-provoking world-class art.”

“I am immensely excited to be at the helm of The Rep for my first full season with such a thrilling lineup of shows,” added Williams. “It’s been a true joy to watch this season come together and we can’t wait to share with everyone St. Louis.”

New for the 2022-2023 season, The Rep is offering several tiered subscription pass options, available now (prices vary by section). These exclusive subscription passes offer audiences the opportunity to find the perfect subscription for them. Subscription options:

●      Classic Subscription Pass: Get your tickets for all 5 Mainstage shows, plus your choice of our Holiday or Steve Woolf Studio offerings. Lock in your preferred seats and dates for the entire season when you order. And if your plans change, enjoy no-fuss exchanges.

●      Flex Subscription Pass: Get six passes to use for the best available seats to the shows you want most on the dates that fit your schedule, redeemable any time during the season.

●      Insider Preview Subscription Pass: Be the first to see the show and get a great deal! Just like the Classic Pass, you’ll get tickets for the 5 Mainstage performances, plus your choice of either our Holiday or Steve Woolf Studio offerings. By attending Insider Preview Weekends (the first Friday-Sunday of each show’s run), you get priority access to the best seats in the theatre and save substantially on your subscription.

Mainstage shows will take place at the Loretto-Hilton Center for the Performing Arts and the Catherine B. Berges Theatre at COCA. The full schedule for the 2022-2023 Season is as follows:

●      House of Joy: August 26 – September 18, Loretto-Hilton Center

At first glance, The House of Joy is a dazzling utopia; but when a new guard joins the emperor’s army, she discovers it’s more prison than paradise. This genre-busting adventure fantasy is filled with stunning locales, electrifying combat, steamy romance and badass girl power.

●      Private Lives: September 30 – October 23, Catherine B. Berges Theatre

Amanda and Elyot are enjoying a romantic honeymoon – just not with each other. A chance meeting on their adjoined hotel balconies brings this divorced duo face-to-face for the first time in five years. Passions and tempers collide in this combustible romp, as the two remember why they fell in love and why they divorced in the first place.

●      A Christmas Carol: November 18 – December 30, Loretto-Hilton Center

The Rep rings in the spirit of the season with the second annual production of this holiday classic. At long last, the ghosts of Ebenezer Scrooge’s past, present and future have caught up with him. Now London’s most infamous miser must face down his demons, reconcile the consequences of his choices and experience the power and joy of a miraculous redemption.

●      Putting it Together: A Musical Review: January 27 – February 19, Catherine B. Berges Theatre

Celebrate legendary composer and lyricist Stephen Sondheim by revisiting nearly 30 of the most poignant, powerful and witty songs in the American musical theatre canon. This beautiful, funny and emotionally charged musical review exposes the complicated relationships and deepest desires of two couples out for an elegant evening. 

●      Confederates: February 10 – March 5, Loretto-Hilton Center

An enslaved rebel turned Union spy and a tenured professor in a modern-day private university are having parallel experiences of institutionalized racism, despite existing more than a century apart. Dominique Morisseau brilliantly bends the continuum of time and weaves together the stark realities of racial and gender bias both women face in this illuminating drama.

Confederates is being produced in association with the Oregon Shakespeare Festival.

●      Agatha Christie’s Murder on the Orient Express: March 17 – April 16, Loretto-Hilton Center

It’s 1934, just after midnight, and a snowstorm has stopped the opulent Orient Express sleeper train in its tracks. A wealthy American businessman is discovered dead, and the brilliant and beautifully mustachioed Hercule Poirot must solve the mystery before the murderer strikes again. Agatha Christie’s plot-twisting masterpiece takes audiences on a suspenseful thrill ride.

Agatha Christie’s “Murder on the Orient Express” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com

●      Steve Woolf Studio Series: Spring 2023Strauss Black Box Theatre in Kirkwood Performing Arts Center (KPAC)

Adventurous theatre for adventurous theatregoers — a provocative and memorable black box experience at the new state-of-the-art . Show announcement to come in May.

For more information and to purchase, visit repstl.org or call the Box Office at (314) 968-4925. The Rep Box Office at the Loretto-Hilton Center will be open Tuesdays and Wednesdays from 10:30 AM – 5:00 PM.

About The Repertory Theatre of St. Louis

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on FacebookTwitterInstagram and YouTube.