Splendid ‘The Last Five Years’ from Tesseract Theatre Company

Splendid ‘The Last Five Years’ from Tesseract Theatre Company

By Lynn Venhaus

Jason Robert Brown’s musical compositions are strenuous and so are two-character pieces, therefore, “The Last Five Years” was a daunting choice for the enterprising Tesseract Theatre Company as they dive into musical theater endeavors.

However, the group pulled off this marriage chronicle with aplomb when I saw it Feb. 19.. With spirited performers, exemplary musicians, accomplished direction, and smart creative choices, “The Last Five Years” is splendid.

With its all-sung framework and an unconventional structure, Brown’s unforgettable score and emotionally powerful lyrics tug at the heartstrings, for in 85 minutes, they go from meeting to break-up (Jamie Wellerstein) and from break-up to meeting (Cathy Hiatt), intersecting at their wedding.

High praise must be bestowed on an exceptional five-piece orchestra lead by veteran maestro Leah Schultz, who is on piano, with Adam Rugo on guitar, John Gerdes on bass, Chuck Evans on violin, and Marie Brown on cello. (The strings are the cherry on top here, lovely and lush.)

The music is beautiful to get lost in, and highlights are “The Next Ten Minutes,” “Still Hurting,” and “Goodbye Until Tomorrow.”

While this might sound like a simple endeavor, it is not. Brown has incorporated many genres, including jazz, blues, folk, and Latin besides his usual pop-rock fusion with musical theatre. His distinctive melodies are notoriously difficult, and his atypical harmonies require a broad vocal range.

The two leads, Kevin Corpuz as Jamie and Grace Langford as Cathy, as dynamic as they are, struggle a wee bit on a few demanding notes.  Nevertheless, with the high wire singing for nearly an hour and a half, it’s a dandy achievement – especially the stamina required.

With their pizzazzy personalities on display, Corpuz and Langford are engaging as two New Yorkers – he’s a writer and she’s an actress. They convincingly convey a couple from start to finish over five years — exhilaration at falling in love to crestfallen going through a difficult break-up.

You can’t not be moved by the ebbs and flows as the storytelling weaves the doubts that 20-somethings fret about with careers and commitment.

The aching-yearning-worried songs include “Moving Too Fast” and “A Miracle Could Happen” (Jamie) and “I’m a Part of That” and “Climbing Uphill” (Cathy), which they deliver sincerely.

Langford, a strong vocalist who is well-trained, and Corpuz, who moves with great ease, have worked together multiple times in local regional professional theater, so their comfort level with each other is obvious. This is their first time paired as a romantic couple, and they are believable.

Director Taylor Gruenloh has given the piece some needed vitality, for I’ve seen this musical a couple of times where the pair just basically stand there. No, not a move you’d likely see from inventive Gruenloh, nor Corpuz or Langford. Gruenloh’s tweaked it in a good way, making it more heartfelt.

Lankford is particularly fetching in the clever ditty “A Summer in Ohio,” about her experience in summer stock away from her husband, and the humorous “I Can Do Better Than That,” about her hopes and dreams.

And Corpuz’s energy isn’t containable, so he must move. His “Shiksa Goddess” is amusing in a brazen way, a song detailing his character’s Jewish heritage.

The songs that are raw and tinged with sadness — “If I Didn’t Believe in You,” “I Could Never Rescue You,” and “Nobody Needs to Know,” have forceful solos.

Brown has won three Tony Awards – for his original score to “Parade” in 1999 (currently revived on Broadway) and for original score and orchestrations for “The Bridges of Madison County” in 2014. He was nominated for Billy Crystal’s “Mr. Saturday Night” score last year (with Amanda Green lyrics).

This musical, his third, was inspired by his first marriage, and premiered in Chicago in 2001. It moved to off-Broadway in 2002. St. Louis native Norbert Leo Butz originated the role of Jamie in Chicago and played opposite Sherie Renee Scott off-Broadway, and they recorded the cast album.

That production won the 2002 Drama Desk Award for Outstanding Music and Lyrics, as well as receiving Drama Desk nominations for musical, actor, actress, orchestrations and set design. It also received Lucille Lortel Award nominations for musical and actor, and the Outer Critics Circle Award nomination for Off-Broadway musical.

An enduring and popular musical with regional, colleges and community theaters, it has been revived on Broadway, turned into a 2015 movie with Anna Kendrick and Jeremy Jordan, had an acclaimed London run, a 20th anniversary concert with Butz and original Cathy Lauren Kennedy, and directed by Brown, among other presentations.

The music remains hummable and memorable, and add Tesseract to the list of companies that do it right. Sound designer Phillip Evans has figured out .Zack’s finicky acoustics for flawless work, Brittanie Gunn’s lighting design is striking, and Gruenloh did fine projection work. Actress Josie Schnelten shows up for a cameo.

After their triumphant “Ordinary Days” last fall, and now this 2-hander, Tesseract’s prowess on staging musicals must be highly regarded. “Kinky Boots” is next up at the Grandel Theatre Aug. 17-27, one that will be a must-see.

And you don’t want to miss “The Last Five Years” – a show about love, produced with great affection, and another opportunity to hear those glorious songs.

The Tesseract Theatre Company presents “The Last Five Years” from Feb. 17 to Feb. 26, with performances Friday and Saturday at 8 p.m. and Sunday at 4 p.m. at the .ZACK, 3224 Locust, in the Grand Center. For more information or tickets, visit: www.tesseracttheatre.com.

Tesseract Theatre Changes Leadership Structures with New Team

Tesseract Theatre Changes Leadership Structures with New Team

 The Tesseract Theatre Company has changed leadership structures and announced its new team of Creative Directors.

Tesseract Theatre has followed the more traditional model of theatre administration for over a decade now, with an Artistic Director choosing production material, a Managing Director overseeing production operations, and an Executive Director tackling the administrative identity of the company.

The company is now switching to a more ‘open forum’ type of management structure with the addition of Kevin Corpuz. ”It opens up for more collaboration,” says Corpuz, “and allows us to work more in tandem to help shape the new direction of the company.”

The new direction of the company involving the addition of musicals, like last November’s production of Adam Gwon’s Ordinary Days, something Tesseract never did in its first twelve years in St. Louis. “I found myself wishing the play would never end,” wrote Richard Green of Talkin’ Broadway of the production.


”We’ve always celebrated having a lot of voices in the room,” says Taylor Gruenloh, the founding Artistic Director of the company, now turned Creative Director alongside Corpuz, “but this feels more responsible. And guarantees a ‘check and balance’ system to everything. And not just to make sure that duties are being done and everything is done fairly in production, but that leadership can look out for one another, make sure everyone is still taking a breath and is reminded why we want to sacrifice our time to produce theatre in this community.”

Along with Gruenloh and Corpuz is Brittanie Gunn, a founding partner of the company. “We celebrate ensembles on our stage,” Gunn says, “and I think mirroring our management structure in a more ensemble-like fashion should allow us to find new experimental ways to take on production management and company administration.”

”I’m excited to help Tesseract do what it’s always done,” says Corpuz. “Which has been producing exciting shows in St. Louis. And I’m glad to help usher in the exploration of musical theatre inside this company.”

Corpuz will be featured in the musical The Last Five Years by Jason Robert Brown at Tesseract Feb. 17-26, directed by Gruenloh. And Gunn will be directing the hip-hop romance Welcome to Arroyo’s by Kristoffer Diaz this upcoming April. Both shows at the .Zack Theatre in Midtown on Locust.

Ordinary Days

Tesseract’s Leap of Faith Musical ‘Ordinary Days’ Is a Memorable Journey

Tesseract’s Leap of Faith Musical ‘Ordinary Days’ Is a Memorable Journey

By Lynn Venhaus

What a pleasant surprise the leap of faith “Ordinary Days” is – as the inaugural musical presentation of Tesseract Theatre Company, as an original musical by Adam Gwon, as a coda to this year and as a reflective piece for our third winter of a pandemic.

An intimate, affecting sung-through musical that intersects the lives of four young New Yorkers, “Ordinary Days” resonates with its struggles, search for fulfillment and the palpable sense of yearning from the new-to-me quartet.

Discovering the vocal talents and comedic timing of Brittani O’Connell, Jacob Schmidt, Micheal Lowe, and Lauren Tenenbaum is also part of the fresh-and-fun experience.

As directed by veteran Elisabeth Wurm, the cast maneuvers like the New Yorkers they portray. There’s a certain rhythm to moving around the city, and the four performers nail the aptitude and the attitude. (Full disclosure: my youngest son has lived there since 2011, so I have visited over the years, and have observed the natives, transplants, and tourists.)

When navigating the hustle and bustle, I am often reminded of Stephen Sondheim’s lyrics to “Another Hundred People” in “Company”: “It’s a city of strangers, Some come to work, some to play… Some come to stare, some to stay And every day The ones who stay
Can find each other in the crowded streets and the guarded parks…”

Worried about their futures while still clinging to their hopes and dreams, these two pairs have found each other in a city misrepresented by a cold-hearted perception. It’s not, but you must learn survival — “If I can make it there, I can make it anywhere” is pretty much true.

Tenenbaum is Deb, a small-town girl with dreams of more, who is in grad school and misplaces a notebook crucial to her thesis. It’s found by Warren, a guileless goofy guy played by Schmidt, who is too pleasant and agreeable for his own good, for he’s one of those random guys passing out flyers on the street who is repeatedly ignored. His job is cat-sitting but he’s the proverbial struggling artist. He’s desperate to fit in – can he still be chipper when trying not to get swallowed whole by the city?

Frazzled high-strung Deb is always in a hurry, and will eventually learn to be in the moment, or else the treasured little things in life will pass her by. She thinks Warren is weird, but eventually they become good friends.

Jacob Schmidt, Lauren Tenenbaum

 The other couple is romantically linked. They have been together for a while but mulling over taking it to the next level, as Jason moves his things in to Claire’s. But something isn’t quite right. O’Connell plays Claire, whose backstory includes a 9-11 casualty, and Lowe is Jason, whose journey leads to commitment, but is Claire ready?  

Learning to appreciate the simple things of life – while feeling lonely, isolated, and out of sorts – has been a common theme during the coronavirus pandemic, which has brought a gamut of emotions to the surface since March 2020.

So, Adam Gwon’s play, written in 2008, takes place in 2005, which is important for the actions and transitions. It is a marvel of relatable key moments – Oh, youth! The 30s! – and somehow, reverberates with the same contemplations we’ve had during this pandemic era of uncertainty.

Gwon is a noteworthy talent, included in Dramatists Magazine’s “50 to Watch,” and “Ordinary Days” put him on the map. His lyrics are sharp and vibrant, have an everyman quality and universal appeal. (He also wrote the revue “Old Jews Telling Jokes,” which was presented by New Jewish Theatre in 2014.)

Tesseract’s presentation of “Ordinary Days” is a fine introduction to his music, and Music Director Zach Neumann deftly plays the keyboards and keeps the pace brisk for the singers, whose strong enunciations and interpretations really make the vivid lyrics hit home.

Schmidt sets a convivial tone with “One By One By One,” then shades his character’s personality through “Life Story” – his heart and his humor apparent.

Tenenbaum, also quirky but bursting with possibilities, explains her life to date in “Don’t Wanna Be Here” and her mojo in “Dear Professor Thompson, Part I” – continuing her funny bundle of nerves.

Deb and Warren’s meet-cute at The Metropolitan Museum of Art turns into a sweet duet “Sort of Fairy Tale” – ‘violent punctuation”! And continues with “Big Picture.”

Brittani O’Connell, Micheal Lowe

The Met figures into Claire and Jason’s relationship, but not as positive as the other pair’s.

While moving in, gifted vocalists O’Connell and Lowe explore their next-step feelings in “Let Things Go” and “The Space Between,” and go through their stuff in “I’m Trying.” They succinctly sum up a couple’s argument with a lighter humorous touch in “Fine.”

Among the most poignant is O’Connell’s “I’ll Be Here” – which should elicit leaky eyes from nearly everyone – and Lowe’s simple but so eloquent “Favorite Places.”

The hits just keep on coming — “Hundred-Story City” captures the love-hate relationship that New Yorkers have with the concrete jungle. And “Rooftop Duet/Falling” ties the show together.

Claire has realized she must let go of the past before she can move on, and O’Connell’s character arc is the deepest felt, but all performances are warm and captivating. They harmoniously come together in the stirring finale “Beautiful.”

With the focus squarely on the individuals and how they factor in with others, the set design is simple, and relies on photographs projected on the large screen – sights of living in New York City. (NYC always feels familiar because we’ve seen it so many times in entertainment.)

If you feel that you have taken away from our recent 21st century life-and-death experience the importance of connection, like I have, then this timely and charming reminder to appreciate beauty and joy in our lives, no matter how small or fleeting, delivers its heartfelt message as only live theater can.

This may be Tesseract’s first musical, but it won’t be their last, as they are planning to present the two-hander “The Last Five Years” by Jason Robert Brown in February and the Tony Award winner for Best Musical in 2013, “Kinky Boots,” later this year.

I’m liking this leap of faith Taylor Gruenloh has set his company on – and the first step is a knockout, a memorable musical for our times. Dare I say “optimistic”?

Tesseract Theatre Company presents “Ordinary Days” Nov. 18-27 on Friday at 8 p.m., Saturday at 8 p.m., and Sunday at 4 p.m. at the. Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com or at the box office before the performance. $25 for general audience and $20 for students. For more information, visit www.tesseracttheatre.com

Tesseract Theatre Company to Premiere Two New Plays in July

Tesseract Theatre Company to Premiere Two New Plays in July

The Tesseract Theatre Company is moving to the Marcelle Theatre with two new plays by local playwrights. The St. Louis premieres of “The Length of a Pop Song” by Taylor Gruenloh and “All That Remains” by JM Chambers will open in July.

“The Length of a Pop Song,” directed by Karen Pierce and featuring the cast of Rhiannon Creighton, Donna Parrone, and Kelvin Urday, will run July 8 – 17.

“All That Remains,” directed by Brittanie Gunn and featuring the cast of Luis Aguilar, Melody Quinn, Morgan Maul-Smith, Nyx Kaine, Sherard Curry, and Victor Mendez will run July 22 – 31.

Performances will be Friday and Saturdays at 8 pm, Sundays at 4 pm.

The Length of a Pop Song by Taylor Gruenloh: Lex has no choice but to move back into her parent’s house after another incident of self-harm. Her mother wants to help prepare her for an upcoming trial against an adult website hosting non-consensual videos of Lex, but Lex can’t find a reason to look forward to tomorrow.

All That Remains by JM Chambers: Gary survives a school shooting and isn’t dealing with the trauma well. Gary’s wife Elaine is trying her best to hold it all together, take care of Gary, work, pay the bills, and deal with her own sadness. Gary and Elaine can’t go on living this way forever and soon they both reach a breaking point.

The Marcelle Theatre is located at: 3310 SAMUEL SHEPARD DRIVE, SAINT LOUIS, MISSOURI 63103

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

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

Bright Lights Column: Shine On, St. Louis

Bright Lights Column: Shine On, St. Louis

By Lynn Venhaus
Managing EditorTHAT VOICE: Are you on Team Kennedy yet? If you haven’t heard Kennedy Holmes, 13, from St. Louis in her blind audition on “The Voice,” be prepared to be wowed and understand why it went viral.
Part of The Muny Kids for five years, Kennedy starred as Little Inez in the 2015 “Hairspray” production, has sung the national anthem for Cardinals’ games and appeared as one of the Cratchit children in “A Christmas Carol” at The Rep in 2016. She is an eighth grader at John Burroughs School.
Her confident delivery of Adele’s “Turning Tables,” which showcased her control and range, impressed all four judges and got a 4-chair turn – and standing ovation.
She auditioned in Indianapolis earlier this year and is the youngest person in the singing competition this season. Producers saved her for the last spot and teased her appearance in a sneak peek last week that set her schoolmates and local folks buzzing. The cliffhanger coach pick was easy to guess.
Kennedy, while remarkably poised singing, got emotional over Jennifer Hudson, and then sang with her idol in an impromptu “I Am Changing” from “Dreamgirls.”
The guys made convincing pitches.
Adam Levine: “Very, very rarely does someone come around that kind of reignites our passion for what we do. And to hear you sing today did that. Just to see that kind of confidence naturally exist in you at such a young age, it’s unheard of. After the 15 seasons, you really could become the absolute biggest thing to ever come from this show.”
Blake Shelton: “Let me be the first to thank you for coming to ‘The Voice,’ ’cause our ratings are going to shoot through the roof this evening. I think you are the best vocalist that has auditioned this year. I want you to pick me as your coach so you can teach me how to sing like that.”
After Kennedy’s pick, Hudson was ecstatic. “I think the game is over because I just won ‘The Voice’ with little Miss Kennedy. Yes, I did.”
Here’s the clip from the Blind Auditions, which started Sept. 24. To date, her audition video has been viewed 3.6 million times on YouTube.com.

This isn’t the last we’ve seen of Kennedy. It will be fun watching her progress on the national stage, next in the Knockout Rounds, then hopefully Battle Rounds and Live Performances. (And the local television and radio stations are all over it.)
***DEVIL MAY CARE: As the calendar turns autumnal, it’s time for sinister, spooky suspense. Five local theater groups have teamed up to present “Faustival: The Devils We Choose” – one in August and the rest through December.
The artistic collaboration is between Equally Represented Arts, The Midnight Company, Theatre Nuevo, SATE, and the Post-Romantics. They are presenting works on the Faust myth from the 16th century – about a scholar who sold his soul to the devil in exchange for perks.
ERA FaustIn August, ERA, along with Kid Scientist, presented “Faust (go down with all the re$t),” an experimental rock-opera-adaptation of Goethe’s most celebrated work.
Currently, The Midnight Company is presenting the one-act “An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on This His Final Evening,” along with another one-act by Mickle Maher, “The Hunchback Variations.”
For more information, www.midnightcompany.com
In October, Theatre Nuevo will present “whither should I fly” from Oct. 25 – Nov. 10 at the William A. Kerr Foundation, 21 O’Fallon St., St. Louis. For more information, visit www.theatrenuevo.com
Starting on Halloween, “Doctor Faustus, or the Modern Prometheus” by John Wolbers and Kit Marlowe will be performed by Slightly Askew Theatre Ensemble (SATE) Wednesdays through Saturdays through Nov. 17 at The Chapel, 6238 Alexander Drive, St. Louis. For more information, www.slightlyoff.org.
The Post-Romantics will present “Doomsday Faust” Dec. 5 – 8 at the Centene Center for the Arts, 3547 Olive Street, St. Louis.
For more information, please visit faustival.org.
***MOVING ON UP: The aforementioned John Wolbers, who has adapted Faust for SATE, shared some exciting news recently. He is a new Producing Associate at the Metro Theatre Company. He has served as the full-time resident teaching artist at MTC since the 2012-2013 season. He will assist Artistic Director Julia Flood with casting, directing and production administration.
Andrew Kuhlman is Broadway bound! He is currently working in New York as a co-producer on “The Prom,” the Broadway musical comedy that begins previews on Oct. 23. Andrew, an associate producer at Stages St. Louis, made the announcement Sept. 7.
“I am beyond excited to be taking this journey with a show that I could not believe in more. I cannot wait for audiences to fall in love with this hilarious, heartfelt and energetic musical,” he said.
“The Prom” has some prominent local connections – including Jack Lane, at Stages St. Louis, as one of its producers. Lane already has two Tony Awards as part of the group behind “Fun Home” and “The Humans.”
Joe Grandy, Andrew Kuhlman of “The Prom”The show lyricist and book writer is Chad Beguelin, who grew up in Centralia, Ill. He’s a multiple Tony nominee, for book and lyrics to “The Wedding Singer” and lyrics to “Aladdin.”
The cast includes Muny favorite Beth Leavel, Tony winner for “The Drowsy Chaperone,” and Muny veterans, including St. Louis natives Drew Redington and Jack Sippel, and Fairview Heights native Joe Grandy.
***WHO’S WHO: Upstream Theater is hosting renowned director Marianne de Pury who will stage the U.S. premiere of “Chef” by UK/Egyptian playwright and poet Sabrina Mahfouz. The one-woman show, starring Linda Kennedy, opens Sept. 28 and runs through Oct. 14.
Linda Kennedy, Photo by ProPhotoSTL“Chef” is the gripping story of how one woman went from being an haute-cuisine head chef to a convicted inmate running a prison kitchen. Leading us through her world of mouth-watering dishes and heart-breaking memories, Chef questions our attitudes to food, prisoners, violence, love and hope.
Originally from the French part of Switzerland, de Pury is known for her work with the famed Open Theatre, where she composed music for “America Hurrah” and “Viet Rock.” Since those days she has directed all over the world–mostly in Germany, where her most recent work, “The Importance of Being Earnest,” was nominated as one of the year’s best productions.
Playwright Rob Urbanati came to the ‘Lou for Tesseract Theatre Company’s opening of his play, “Mama’s Boy,” which explores the relationship between a controlling mom and her son, who gained infamy as the assassin of President John F. Kennedy.
Here he is with the cast after Friday night’s show. They got our attention opening night at the .Zack, conveying a roller-coaster of emotions played out in historical context.
Urbanati, of New York City, is a playwright, screenwriter, book author, director, and director of new play development at Queens Theatre in the Park. His well-constructed 2015 drama is a fascinating exploration of family dynamics. It’s directed by Brad Schwartz.
From left: Jeremy Goldmeier (Robert Oswald), Brandon Atkins (Lee Harvey Oswald), playwright Rob Urbanati, Donna Parrone (Marguerite Oswald) and Carly Uding (Marina Oswald).
Lynn Venhaus photo***AROUND TOWN: Alas, the Stephen Sondheim appearance in St. Louis Oct. 4 is sold out. He is accepting the 2018 St. Louis Literary Award from the Saint Louis University Library Associates for being one of the most eminent lyricists and composers of the modern era.
He is the first musical lyricist to win the award since its inception in 1967. In a remarkable career spanning 70 years, Sondheim has written the lyrics, music —or both, for some of the most iconic and long running plays in the history of American theater.
The response was overwhelming, and all seats in the Sheldon Concert Hall and the simulcast viewing room have been reserved. During the event, which begins at 7 p.m., Mike Isaacson, executive producer and artistic director – and major Sondheim fan – will interview him on stage.
Three-time Tony Award winner “Avenue Q” has been extended three more weeks for its winter presentation at the Playhouse @ Westport.
Because of overwhelming ticket response, the “furry, funny and feel-good musical” will now run Jan. 25 – March 3. The cast is a combo of local and touring performers.
Another famous St. Louisan, poet, novelist and playwright A.E. Hotchner, an alumnus of Washington University, has endowed an annual Playwriting Festival. Three new works will be presented this weekend (Sept. 28 and 29) – “Tom and Grace” by Scott Greenberg, “Arriving At” by Ike Butler on Saturday at 2 p.m. and “Florida” by Lucas Marschke at 7 p.m. The guest dramaturg is Michele Volansky, chair of the drama department at Washington College in Maryland. The event is sponsored by Newman’s Own Foundation. For more information, visit: pad.artsci.wustl.edu.
The Stage Left Grille is now under Fox Management, so you can stop there for a bite to eat before a show at the Fox Theatre, the Kranzberg Arts Center or The Grandel, or any place in the Grand Arts Center.
“Confessions of a Nightingale,” a production from the Tennessee Williams Festival set for Nov. 1-4, has to be postponed until 2019.
***CHAMPAGNE & MOONSHINE: If you saw “Always, Patsy Cline” at Stages St. Louis in 2014 or at The Playhouse at Westport the following year, you must remember Jacqueline Petroccia as the star. A national sensation in that role, I recall that her velvety voice was “like butter.” She has released a debut solo album, the double EP “Champagne and Moonshine,” Collaborators on the album include musician royalty from Music City, including members of the Nashville Symphony, the award-winning Rascal Flatts, and Broadway Musician Brent Frederick.
Recorded live, with special permission, at the legendary and historic Quonset Hut on Music Row in Nashville, Tenn.,the album is available online through CD Baby (physical copy), Amazon, and iTunes.
The first EP, “Champagne,” features a big band sound appropriate for any ballroom or supper club, including an original arrangement mix “Crazy/Crazy He Calls Me,” and “Mambo Italiano.” The second EP, “Moonshine,” features new country music hits, and her original debut single “Your Name in Lights,” written by Brandon Hood, Hillary Lee Lindsey, and Troy Verges
Her other stage credits include the national tours of :The Producers,” “The Sound of Music” and “Fiddler on the Roof.” She was a featured soloist on the album “Where the Sky Ends” by Michael Mott (Broadway Records) and has appeared on “Prairie Home Companion,” featured with the Williamsburg Swing Orchestra and in her solo cabaret show Sometimes Patsy Cline (productions at 54 Below and Regional Theatres). More information can be found at JacquelinePetroccia.com
***YOU GO GLEN COCO: “Is butter a carb? Whatever, I’m having cheese fries.”
Wednesday, Oct. 3, is unofficially known as National Mean Girls Day, so imaginative Chef Liz of Tenacious Eats has created a fun event for the evening. Tickets are $35 and include a Mean Girls-inspired cocktail, entree and Kalteen Protein Bar for dessert.
Expect some “fetch” prizes if you can answer some Mean Girls trivia and photo ops will be available with a Lindsay Lohan lookalike. Costumes are encouraged, and it is on a Wednesday, so you might want to wear pink!
The Tina Fey movie will be shown at 7 p.m. on the big screen at the West End Grill & Pub, 354 N. Boyle. Doors open at 6 p.m. for pre-show fun, Mean Girls trivia, prizes and photo ops. Tickets are available at: www.BrownPaperTickets.com.
***WORD: Decoding Theatre Reviews – a must-read: http://exeuntmagazine.com/features/theatre-reviews-decoded/
***GO SEE A PLAY POLL: Who are your favorite moms in musicals? Answer our poll and you will be entered in our drawing for two tickets to “One Funny Mother” at the Playhouse @ Westport Plaza on Wednesday, Oct. 3, at 8 p.m.
Dena Blizzard, former Miss New JerseyHilarious Dena Blizzard, best known as “The Target Mom,” is a viral sensation and former Miss New Jersey. Her one-woman show puts the fun in domestic dysfunction.
FAVORITE MOM IN MUSICALS:Mae Peterson in “Bye, Bye Birdie”Margaret Smith in “Carrie”“Big Edie” Edith Ewing Bouvier Beale in “Grey Gardens”Edna Turnblad in “Hairspray”The Witch in “Into the Woods”Lady Thiang in “The King and I”Margaret Johnson in “The Light in the Piazza”
Send your pick to: lynnvenhaus@gmail.com by Monday, Oct. 1, at noon. Winner will be notified soon after, and arrangements will be made for your tickets to be waiting for you at the box office.
Our last winner was Christopher Strawhun for “Oklahoma!” at Stages St. Louis.
***TRIVIA TIME-OUT: Let’s hear it for St. Louis native Chris Redd and longest-ever SNL cast member Kenan Thompson on their Emmy win for Outstanding Original Music and Lyrics for “Come Back, Barack,” a Boyz II Men-style parody from last November’s episode hosted by Chance the Rapper.

Q: Despite multiple nominations, SNL has won only once before, for what song?
Justin Timberlake and Andy Samburg’s collaboration, “D**k in a Box.”
Fun fact: Theme songs also count for the award. “Moonlighting,” “Cheers,” “Chico and the Man,” “Growing Pains” and “Police Woman” have won.
Chris Redd didn’t live in St. Louis long and moved to Chicago as a youth. He is back at “Saturday Night Live” for his second season, which starts this Saturday, with host Adam Driver and musical guest Kanye West.
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Tips? Contact: lynnvenhaus@gmail.com