By Lynn Venhaus

A comfortable slice of life, “Johnnie Taylor is Gone” is part nostalgia trip and part character study with a pleasant panoply of St. Louis cultural references and distinct personalities that draw one into a recognizable old-timey stomping ground.

Gregory S Carr’s warm-hearted and engaging original play is set in a cozy neighborhood hangout, the fictional Golden Zodiac Lounge, which was patterned after a real north city gathering spot. This is where regulars discuss current events, their personal relationships and philosophies on life, all while enjoying a beer and plunking change in the jukebox.

The time is a few years into the Millennium, and change is inevitable in many ways in this natural setting. Owner Will Strong is a man who likes things the way they are, and because he is set in his ways, resists modernizing and catering to a younger clientele. He is fond of an over 30 crowd, although an update would help the bar stay solvent.

As embodied by virtuoso Archie Coleman, Strong is a caring father figure and stubborn proprietor who clings to his heritage. His prized possession is his vintage jukebox that only plays R&B classics and soul singers.

A popular artist, Johnnie Taylor, once visited the bar, and his picture hangs prominently on the wall. .He represents an era that Strong most identifies with, and he doesn’t want the soundtrack of his life forgotten. Taylor, best known for four chart-topping hits including 1979’s “Disco Lady,” died in 2000.

The Chicago blues legend Koko Taylor is also a favorite. Retro tunes are played, and people dance down memory lane, evoking fond memories. A song is often used to shift a mood, too.

In addition to the familiar patrons – everyone knows their names – there is a changing cultural dynamic.

A flashy, hip and imposing young guy, called Jay-G, also known as Jiggy, struts in, projecting major attitude, and is eager to purchase the bar and turn it into a hip-hop club. He is not subtle, putting pressure on Strong, talking big ideas and appearing to live large. As the not-as-smooth-operator as he thinks he is, Sequoi Edwards nails this part.

He’s also involved with someone that has a complicated character arc best not spoiled, but Wanda is a flighty younger woman (Arriel Cummings). Generational clashes figure into the storyline.

Standing out are two of the bar’s employees – the streetwise hostess and world-weary Annie, who can be alternately sassy and sweet, and is fully realized by Mardra Thomas, and the cheery, lovable bartender Bette, played by the cheery and lovable LaWanda Jackson, who just brightens every scene she’s in, oozing optimism and hope.

They smoothly interact with customers like they’ve been working there for years. The patrons enjoying each other’s company include Jeremy Thomas as Pace, a barfly whose wife Myrtle is always calling the landline with grocery lists and checking up on where he is, Juan Smith as opinionated fixture Bruh and Jaz Tucker as a nice-guy delivery man Bud. Talk includes sports, music, art, politics, religion and current events.

In brief but memorable turns, veteran Don McClendon looks dapper in a bright yellow suit and fancy green hat as a church pastor called Churchill and Ieshah Edwards as helpful beat cop Judy, looking out for the welfare of her turf.

The bar has such a lively feeling that you know exactly what kind of place it is, having no doubt entered the door of similar establishments, where the staff knows drink orders and there is always something to talk about, whether it’s criticizing Cardinals manager Tony LaRussa or bringing up people who live in the vicinity. That’s a charming aspect of this 2-hour, 15-minute show.

Another delight is listening to the golden oldies that play. The music is integral to the whole experience and is part of the show’s vibe. Sound designer Darrious Varner has curated an interesting list of tunes, which add authenticity. He also assembled the costumes.

While its heart is in the right place and one applauds their ambition, Aquarian Rising Productions is a fledgling professional theater group that strives to represent black voices and black experiences, and their enthusiasm is contagious.

Because they are so new, this is a very low-budget production that is obviously a labor of love. Some of the technical issues – sound and lights, especially – are problematic. It is often hard to hear characters, which is a shame because Carr has a flair for writing witty dialogue and the local references are fun to hear.

The venue is the Jefferson Avenue Mission, a former old church, so the audience sits in pews, and the small stage provides limited space for some of the action. Wiring for microphones and lights hit some snags opening weekend. Hopefully as the company grows and flourishes, the stagecraft elements will be stronger, for they’re off to a good start with quality performances and eager creatives.

The director is veteran actress and artist Thomasina Clarke, who is Jaz Tucker’s mother. Tucker not only is in the ensemble, but is the group’s founder. Clarke also wore several hats – designing a functional set for easy interaction, despite the limitations, giving everyone maximum visibility when sharing their story.

You’ll recognize these characters, and this place, feel the community spirit, and enjoy a sentimental journey. The conflicts and crises that make up the dramatic elements are quickly resolved, in some ways you don’t expect, and you’ll want to root for everyone to do better as time marches on.

Aquarian Rising Productions presents “Johnnie Taylor is Gone” from April 25 to May 4, with performances Fridays and Saturdays at 7 p.m. and Sundays at 4 p.m. at the Jefferson Avenue Mission, 2241 Jefferson, in the Fox Park neighborhood. For more information: www.jamstl.org.