Savvy Performances Heighten Chorus of Fools’ ‘Elsinore’ Clever Prequel

Savvy Performances Heighten Chorus of Fools’ ‘Elsinore’ Clever Prequel

By Lynn Venhaus

Laying the foundation for the palace intrigue in Shakespeare’s tragic “Hamlet,” the original play “Elsinore” is an interesting interpretation of those familiar characters in an affecting prequel.

Known for its bold choices, local theater company Chorus of Fools has mounted artistic director Eric Satterfield’s 2021 play updated by co-playwrights David Nonemaker and Satterfield, who also directed.

How did Denmark become so rotten? Satterfield wants answers and his strong cast will tell a more nuanced story.

Through compelling performances, this ensemble delves into the unraveling of the royal family and how the political scheming escalates, which eventually leads to the kingdom’s instability and headed to war with Norway.

Most remarkable is how much the language sounds like the Bard in tone and tempo. Smartly written with style, wit and theatricality, “Elsinore” plausibly imagines the backstories.

John Wolbers is the domineering King Hamlet. Photo by David Nonemaker.

The playwrights obviously have read and studied Shakespeare, presenting a new angle on one of literature’s most influential works. After all, “Hamlet” has been adapted in many ways (“The Lion King,” anyone?)

A rewarding aspect is its exploration of many of the same universal themes, such as making one’s mark, duty, honor, loyalty, destiny and revenge. However, in these earlier incarnations, character transformations and motivations give the actors a juicy challenge.

We may think we know these characters, but by the time Shakespeare crafted them, they had been developed by circumstances, revealing their true nature.  In the prequel, they are forging their paths.

While the prince of Denmark has always been fascinating, in the before times he is secondary to Claudius, who has the most complex character arc. Joseph Garner, one of the region’s most versatile performers, has been a formidable stage presence in supporting roles. As the king’s brother and emissary, he delivers a dynamic characterization rich in detail.

Initially, a dedicated selfless royal, Claudius undergoes personal tragedies and moral dilemmas that lead to his stunning power-grab as he ascends to the throne while breaking up his brother’s family.

Joseph Garner and Jocelyn Padilla as Claudius and Gertrude. Photo by David Nonemaker.

King Hamlet is not a benevolent ruler. John Wolbers portrays him as imperious and devious, and with his son Hamlet, he is demanding and impatient. The young heir is finding his way, clashing with his father and being more comfortable around his uncle.

He starts brooding, and Andre Eslamian gives the intense, rebellious lad an emotional depth while conveying quicksilver moods. He’s confused and angry in interactions with his father, merry with his goofy friends Rosencrantz and Guildenstern, playful with his cousin Claudius, and tender with Ophelia.

His father is not fond of his childhood pals, and Xander Huber, as Rosencrantz, and Zach Pierson, as Guildenstern, display why. As the bumbling buddies, they demonstrate sharp comic timing and play off each other well, adept at slapstick.

Chuck Brinkley, equally good at comedy and drama, adds moments of daffiness to the garrulous Polonius, who is Claudius’ trusted advisor. But he’s capable of conniving. (And what a trouper — he really did break his ankle, hence the assistance.)

Madness has not yet affected major players. Ophelia becomes a handmaiden for Queen Gertrude. She is an intelligent, curious girl, devoted to her father Polonius and gives her heart to Hamlet. Hannah Geisz plays her as a spirited, virtuous member of the court – but one who won’t be an afterthought.

Hannah Geisz and Chuck Brinkley as Ophelia and Polonius. Photo by David Nonemaker.

As Gertrude, Jocelyn Padilla is an obedient wife and dutiful mother. She is hurt by the king’s gruff treatment of her, and after his untimely death, brightens under the gaze of Claudius.

Huber and Pierson each fill another role – Huber is Lord Waldemar and Pierson as young Claudius. Joe Kercher handles three brief roles – Lord Olaf, Laertes and a hooded figure. Rose Reiker is Osric, a courtier and messenger.

Claudius, who becomes a widower after his loving wife Colette (Lexie Johnson) and their beloved son Claudius (Zach Pierson), died in a shipwreck, has somewhat of a reset.

He has lost faith after those devastating losses, becoming bitter and angry. He disagrees with his brother’s decisions and ruthlessly sets a course to takeover.

“Hamlet” was Shakespeare’s longest play, and this version is in three acts, with two intermissions. The second act resumes 14 years later, and the third is one year after that.

Joseph Garner, Andre Eslamian as Claudius and Hamlet. Photo by David Nonemaker.

The small company, with a modest budget, cleverly depicts the castle’s throne room, Claudius’ family sitting room, and the orchard where King Hamlet often napped. Vickie Delmas worked on the set design with Satterfield, and took care of props..

With its “Downtown Abbey” inspired Edwardian setting and period costumes, “Elsinore” creates an insular world where loyalty is demanded while secrets and lies are part of the growing corruption.

Costume designer Celeste Gardner paired different textures together to appropriately outfit the characters, with her work particularly noteworthy for Ophelia and Gertrude.

Bradley Rohlf’s atmospheric lighting design highlighted an impending doom, while giving the ghosts an other-worldly illumination. Satterfield’s outstanding sound design included imaginative needle drops and a regal music score to reflect the spreading darkness.

Other contributors were Ryan Lawson-Maeske, fight choreographer; Jen Kerner, accessibility consultant; Tress Kurzym, intimacy director; and Nikki Pilato, dramaturg (and also assistant director). Moira Healy was the stage manager.

With a castle community sensibility, the savvy cast transported us to a troubled time that has been examined through the ages, and managed to engage us with different, interesting angles. They skillfully conveyed Satterfield’s and Nonemaker’s intentions in a smart, entertaining presentation.

Andre Eslamian, Zach Pierson as the young Hamlet and young Claudius. Photo by David Nonemaker.

Chorus of Fools presents “Elsinore” Thursdays through Saturdays at 7:30 p.m. from Oct. 9 through Oct. 19 at The Greenfinch Theatre and Dive Bar, 2525 S. Jefferson. For more information: greenfinchstl.com/events

‘Romeo and Zooliet’ Unites Nature and Art in Festive Family Frolic at Zoo

‘Romeo and Zooliet’ Unites Nature and Art in Festive Family Frolic at Zoo

By Lynn Venhaus

A grizzly bear, crocodile, prairie dog, red panda, and tiger dance into a party in Zoorona, and we get a bouncy beat, a perky vibe, and a bright-eyed and bushy-tailed family-friendly adaptation of Shakespeare’s classic love story, revived as “Romeo and Zooliet.”

After all, what’s in a name? “That which we call a rose by any other name would smell as sweet.” What if the animal kingdom put on their own show in the friendly confines of a public zoo?

This inspired first-ever collaboration between St. Louis Shakespeare Festival and the Saint Louis Zoo is staged in a grassy, wooded valley area known as “Historic Hill,” between the sea lions and Cat Country on the zoo’s south side.

It is an enchanted setting on a midsummer night, and even a rain delay and sound glitch on Friday, July 11, couldn’t dampen the enthusiasm and enjoyment, particularly of the young and the young at heart.

Ingeniously camped in a performance space named “The Glowb,” clever large custom-made animal puppets cavort in their make-believe habitats, courtesy of Shakespeare-trained actors nimbly operating their characters while they provide the voices and the movements.

Ryan Omar Stack and Nisi Sturgis. Photo by Theo R Welling.

The synergy between playful puppeteers is uplifting, especially when you have a tale aimed at young audiences that is an ode to friendship. (In crossing the biological divide, no animals were harmed in this charming presentation).

The tragic-free conflict, created with wildlife behaviors in mind, is that cuddly bear cub Juliet, an omnivore who leans towards being a vegetarian, becomes best friends with adorable prairie dog Romeo, an herbivore who eats plants.

They don’t mind their differences and want to spend time together without their friends and families interfering. Those colorful characters are not feuding; they’re just from different clans.

Playwright Jennifer Joan Thompson’s imaginative script, based on a 2015 graphic novel, “The Stratford Zoo Midnight Revue Presents Romeo and Juliet,” which was written by Ian Lendler and illustrated by Zack Giallongo, takes flight in this delightful zoo setting.

An exuberant Ricki Franklin, a master interpreter of Shakespearean iambic pentameter, is the sweet Juliet seeking a best buddy. Franklin is a two-time winner of the St. Louis Theater Circle Award for performer in a supporting role for “Twelfth Night” and “As You Like It,” two recent outdoor productions in Shakespeare Glen, and her vibrant stage presence is welcoming.

Jacob Schmidt and Jordan Moore. Photo by Theo R. Welling.

Agile Jordan Moore plays nice Romeo, smitten with Juliet in a way where it’s the platonic version of “Did my heart love till now? forswear it, sight! For I ne’er saw true beauty till this night,” and wants to hang out after they dance.

Juliet’s controlling mom, Lady Capulet, has other ideas — to have a play date with Paris, a smarmy crocodile with ulterior motives, for he sees a meal ticket. Nisi Sturgis’s suppleness in moving with an enormous bear apparatus above her head is impressive.

Adroit Ryan Omar Stack cunningly delivers his double entendre lines, trying to cover up his hearty appetite. He also portrays the prince, who is a sage sea lion (and easily distracted by balls!)

Zookeepers have gone home for the evening, and assorted critters come alive for fun and adventure. The remarkable puppets were designed and fabricated by Michael Curry Design. They collaborated with Julie Taymor for incredible “The Lion King” puppets, so no wonder these are striking in detail.

All the characters are animals that can be found in the Saint Louis Zoo – and on your way in and out, you can watch the prairie dogs’ antics as they go about their evening.

Narrators are a penguin, their offspring, and a puffin. Bryce Cleveland is Puff, Genevieve Mazzoni is Penny. Rian Page and Sophie Stogsdill are also listed in the program.

An animated Jacob Schmidt is a gleeful Mercutio, ready to dance, but he clashes with Juliet’s cousin, Tybalt (the always vivacious Rae Davis). He’s more laid back, she’s friskier – but they both are protective of their pals.

Schmidt also makes a comical entrance as an ambling tortoise, Friar John, ready to dispense his wisdom. He’s quite a crowd-pleaser.

The mellifluous Jeff Cummings is Friar Lawrence, a wise owl, while Olivia Scicolone is a marvel of motion as a hippo, who is quite limber as Juliet’s fussy nurse.

Rising stars Charlie Mathis and Daisy Held are the capable swings throughout the run.

Scenic designer extraordinaire Scott C. Neale has fashioned a rustic performance space that’s part clubhouse, treehouse, campground and stage – with interesting nooks and crannies for the animals to pop in and take off from.

Jesse Klug’s lighting design incorporates fairy lights, and their illumination elicited ‘aws’ from the crowd.

Costume designer Rachel Adorno, in tandem with Caitlin McLeod, associate costume designer and additional puppet fabrication, give the animals distinct personalities – including sparkly masks for the party scene, to convey the whimsy. Eric Barnes managed the props.

With his keen eye for detail and his zest for high-spirited, fun-filled action, producing artistic director Tom Ridgely has helmed this show laser-focused on cheerful entertainment for all ages, especially wide-eyed youngsters.

Ridgely, as he always does, has included exceptional creatives on this show’s roster. His team included producer Colin O’Brien, associate producer Ryan Jeffery, stage manager Sarah Luedloff and assistant stage manager Britteny Henry.

Olivia Scicolone

The 80-minute show includes catchy pop tunes, with a sensational signature song “Just Like Romeo and Zooliet,” the show’s own interpretation of a song first recorded in 1964 by The Reflections.

It has been re-arranged by music supervisor Jeffrey “JQ” Oaiyum, and sung by JQ and Kiley B. Moore, with background vocals by Sophie Dimitroff and trumpet playing by Marques Carroll.

JQ is part of The Q Brothers, which have been involved in several shows presented here by the St. Louis Shakespeare Festival. A Chicago composer, he also works on the Emmy-winning Hulu series “The Bear.”

The peppy music numbers are choreographed by Sam Gaitsch, and Steve Ptacek did a terrific job with sound design. Zev Steinrock choreographed the fights.

Jeff Cummings.

While it’s briskly performed and pleasantly presented, “Romeo and Zooliet” is a massive undertaking, so no small feat for all involved to create such a magical, purposeful experience.

With an entire village of artisans, Ridgely good-naturedly directed this groundbreaking attempt to unite two different worlds, and we’re the better for it.

If you’re like me, you’ll leave grinning ear to ear, hearing little tots giggling being the best sounds of all on a summer’s eve. (And it’s not every day you hear barking sea lions ready to go to bed).

St. Louis Shakespeare Festival presents “Romeo and Zooliet” Tuesdays through Sundays at 7:30 pm from July 8 through Aug. 17. Performances take place at the Historic Hill in the St. Louis Zoo. For more information: stlzoo.org.

Rehearsal photos by Theo R Welling

Ryan Omar Stack as Paris.

Opera Theatre of St Louis’ ‘A Midsummer Night’s Dream Is an Enchanted Forest of Voice, Vision and Theatrical Alchemy

Opera Theatre of St Louis’ ‘A Midsummer Night’s Dream Is an Enchanted Forest of Voice, Vision and Theatrical Alchemy

By CB Adams

In Opera Theatre of Saint Louis’ shimmering new production of Benjamin Britten’s “A Midsummer Night’s Dream,” the familiar Shakespearean tale is reborn with a rare blend of musical precision, visual poetry and theatrical wit.

Under the baton of maestro Leonard Slatkin and the direction of Tim Albery, this staging is less a retelling than a re-enchantment—an immersive journey into a world where fairies glide, lovers quarrel and rustic clowns stumble through tragedy with comic brilliance.

The production is anchored by a cast of world-class singers and actors, each bringing nuance and vitality to their roles. The creative team, led by designer Emma Kingsbury, conjures a forest that breathes and transforms while the children’s chorus and mechanicals add layers of charm and humor.

What follows is a breakdown of the production’s key contributors—principal cast, lovers, mechanicals, fairies and creatives—each of whom helps weave this dream into something unforgettable.

Puck (Matisse Carmack) lays a spell upon a sleeping Lysander (Anthony León) in A Midsummer Night’s Dream. Photo © Eric Woolsey

Principal Cast

The heart of Britten’s dreamscape lies in the ethereal authority of its fairy royalty. Oberon and Tytania, portrayed with vocal finesse and dramatic poise, anchor the supernatural world with a sense of grandeur and mystery. Puck, though silent in song, is a kinetic presence who threads the narrative with mischief and grace.

  • James Laing – Oberon: A commanding OTSL debut, Laing’s countertenor voice is smooth and powerful, embodying the regal and mystical presence of the fairy king.
  • Jana McIntyre – Tytania: Also making her OTSL debut, McIntyre dazzles with a silvery bel canto soprano, bringing both elegance and emotional depth to the fairy queen.
  • Matisse Carmack – Puck: In this non-singing role, Carmack is a kinetic force—quick, agile and mischievous. Her delivery of Puck’s final monologue is masterful.
Tytania (Jana McIntyre) embraces Bottom (Ben Brady) as her bemused fairies (L to R: Laura Santamaria, Veronica Siebert, Emilie Kealani, and Zoe Brooks) look on in A Midsummer Night’s Dream. Photo © Eric Woolsey

The Lovers

The quartet of young lovers brings emotional volatility and romantic confusion to the forest, their entanglements rendered with vocal clarity and dramatic charm. Each performer navigates the shifting affections and magical manipulations with humor and heart, grounding the opera’s fantasy in human longing.

  • Anthony Léon – Lysander: A strong and expressive tenor, Léon brings warmth and charm to the role.
  • Jennifer Johnson Cano – Hermia: A returning OTSL favorite, Cano delivers a sterling performance with emotional nuance and vocal richness.
  • Theo Hoffman – Demetrius: A standout among the lovers, Hoffman’s powerful baritone is one of the production’s vocal highlights.
  • Teresa Parrotta – Helena: Parrotta brings humor and heart to Helena, rounding out the quartet with a vibrant performance.
Ben Brady as Bottom in A Midsummer Night’s Dream. Photo © Eric Woolsey

The Rude Mechanicals

Comic relief arrives in the form of the “rude mechanicals,” whose earnest attempt at theatrical tragedy becomes a riotous farce. Their scenes are a masterclass in physical comedy and ensemble timing, with Bottom’s transformation into an ass providing one of the production’s most memorable visual gags.

  • Ben Brady – Bottom: A comedic triumph, Brady is hilarious in both human and donkey form. The donkey’s head is described as a miracle of stagecraft—realistic with a moving mouth that allows Brady’s voice to project clearly and powerfully.
  • Christian Sanders – Thisbe: Sanders delights with a playful and endearing portrayal of Thisbe.
  • Robert Mellon, Dylan Gregg, Adam Partridge, Sam Krausz – Mechanicals Ensemble: This troupe delivers classic low-comic charm, wringing every laugh from their vaudevillian rehearsal scenes.
Tytania (Jana McIntyre) embraces Bottom (Ben Brady) as her bemused fairies (L to R: Laura Santamaria, Veronica Siebert, Emilie Kealani, and Zoe Brooks) look on in A Midsummer Night’s Dream. Photo © Eric Woolsey

The Fairies & Children’s Chorus

The enchanted forest is populated by a chorus of fairy sprites, led by four charming attendants. Their presence adds a layer of visual and vocal delicacy, transforming the stage into a living, breathing dreamscape. The children’s chorus, under expert direction, brings both innocence and eerie beauty to the production.

  • Emily Kealani – Cobweb
  • Veronica Siebert – Mustardseed
  • Laura Santamaria – Peaseblossom
  • Zoe Brooks – Moth: These young performers lead the children’s chorus with grace and whimsy, adding a magical layer to the production.
  • St. Louis Children’s Choruses – Fairy Sprites: A visual and vocal delight, these young singers enhance the enchanted forest with charm and precision.
Thisbe (Christian Sanders) and Pyramus (Ben Brady) speak through the Wall (Sam Krausz) as Theseus (Jose Olivares) and Hippolyta (Michelle Mariposa) watch their play in A Midsummer Night’s Dream. Photo © Eric Woolsey

Creative Team

Behind the scenes, a visionary creative team shapes the production’s aesthetic and emotional tone. From the conductor’s podium to the costume shop, each contributor brings a distinct artistry that elevates the opera’s dreamlike world. Their collaboration results in a production that is as visually arresting as it is musically rich.

  • Tim Albery – Stage Director: Albery’s minimalist Shakespearean-inspired staging is both magical and emotionally resonant.
  • Emma Kingsbury – Scenic & Costume Designer: Her designs are exquisite with transformative sets and timeless costumes that elevate the production’s visual storytelling.
  • Krystal Balleza & Will Vicari – Wig & Makeup Designers: Their work is brilliant, especially in crafting the ethereal looks of the fairy realm.
  • Seán Curran – Choreographer: Curran’s choreography adds fluidity and charm, enhancing the dreamlike atmosphere.
  • Leonard Slatkin – Conductor: A celebrated return to OTSL, Slatkin leads the St. Louis Symphony Orchestra with finesse, bringing Britten’s haunting score to life.
  • Andrew Whitfield – Chorus Master: His direction of the children’s chorus is superb, contributing to some of the production’s most enchanting moments.
Jose Olivares as Duke Theseus and Michelle Mariposa as Queen Hippolyta in A Midsummer Night’s Dream. Photo © Eric Woolsey

Cover Photo: Oberon (James Laing), Tytania (Jana McIntyre), and the fairies bless the slumbering household at the end of A Midsummer Night’s Dream. Photo © Eric Woolsey

Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

By Lynn Venhaus

An invigorating energy, combined with an intriguing neo-noir atmosphere, mark an unforgettable milestone production of William Shakespeare’s most famous work, “Hamlet” as this year’s 25th St. Louis Shakespeare Festival in Forest Park offering.

Director Michael Sexton’s novel interpretation is moody and minimalist, with scenic designer Scott C. Neale’s striking mid-century modern setting. Sexton follows through his stylistic vision with a noteworthy flair.

From the bold first appearance of King Hamlet’s ghost (Larry Paulsen), the prince’s father, one can sense we’re in for electric, thrilling storytelling, and these inspired choices bring out the best in the impressive ensemble.

Think the angsty howl of James Dean in “Rebel Without a Cause” combined with Robert Pattinson’s emo rendering of tormented Bruce Wayne in “The Batman” for this new-age Hamlet. After all, no one out-broods this iconic prince of Denmark.

Raw, confrontational and reeling in emotional distress, Michael Khalid Karadsheh is mesmerizing as the boy – to the manner born — who comes home from college in Germany to learn of a “murder most foul.”

The play within a play. Photo by Phillip Hamer.

His father has been killed, and his mother Gertrude (Jennifer Ikeda) has married his uncle Claudius (Glenn Fitzgerald), who has seized the throne. He is the leading suspect in his stepson’s eyes and ever the manipulator, is trying to cast doubt on Hamlet’s stability.

“Something is rotten in the state of Denmark,” military sentry Marcellus (CB Brown) fears. Meanwhile, a war is brewing. Hamlet is a powder keg of emotion as he plunges into a downward spiral, suspecting corruption and abuse of power. A sense of foreboding is palpable.

Written around 1600, Shakespeare’s tragedy endures because of rich characters, complicated relationships and sharp observations about human nature. In the pastoral setting of Shakespeare Glen, the festival team blows the cobwebs off your English lit textbook with a fresh look at these Danish royals.

That includes a dynamic black, white, and red palette with shades of gray for unconventional statement designs – in Oana Botez’ functional, comfortable costumes (reminiscent of The Beat Generation and “Mad Men” wardrobes), Denisse Chavez’ atmospheric lighting emphasizing dramatic shadows, and Neale’s layered set. You won’t miss a palatial setting for Elsinore Castle.

Scott C. Neale’s striking set. Photo by Phillip Hamer.

The innovative dramatizing includes a versatile thrust stage (just like Shakespeare’s Old Globe) – 50 feet that juts from the standard proscenium stage. This allows for a more intimate connection with the actors.

And if you are waiting to be wowed by Hamlet’s soliloquies, Karadsheh’s emotional pleas are in optimum positions, and his commanding delivery of one of the most famous literary passages is a joy to behold. Drink every word in of the beautiful iambic pentameter.:

“To be, or not to be, that is the question
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep, perchance to dream—ay, there’s the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there’s the respect
That makes calamity of so long life.“

Sarah Chalfie as Ophelia. Photo by Phillip Hamer.

Consumed with guilt, rage and confusion, Hamlet is acting out, and not in a good way, alarming those closest to him. His mother sends for his Wittenberg University chums Rosencrantz (Mitch Henry-Eagles) and Guildenstern (CB Brown), hoping they can shed light on the situation.

His gal pal Ophelia (Sarah Chalfie) is scared, her brother Laertes (Grayson DeJesus) startled, their caring father Polonius – Claudius’ counselor – upset, and his best friend Horatio (Reginald Pierre) worried. It doesn’t help that he keeps seeing disturbing visions of his dad’s ghost.

Meanwhile, cunning Claudius is forcing power plays and mistrust to protect his secrets and lies. “That one may smile and smile and be a villain,” and Fitzgerald suits him well. Thus, Hamlet’s rebellion will bring more sadness, madness and losses.

Hamlet, Gertrude and Claudius. Photo by Phillip Hamer.

Most of all, the regal Gertrude, dressed in elegant ballgowns and cocktail attire, symbolizes wealth and aristocracy. Ikeda, who appeared as Juliet here in the fest’s inaugural production, contrasts with the young characters representing the need to explore and discover, find their purpose while they question moral decay.  

Hamlet’s disgust at his mom’s choices couldn’t be clearer — “The lady protests too much, methinks.” He can’t get past what he perceives as her betrayal.

You know exactly where Hamlet is coming from when he tells Horatio: “There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy.” As Hamlet’s best friend, Reginald Pierre is a harmonious Horatio, his eloquence shines through, as he does in every Shakespeare role.

Pierre is masterful in delivering a heart-tugging “Goodnight, sweet prince, and flights of angels sing thee to thy rest!”

Gertrude, Hamlet. Photo by Phillip Hamer.

Mark Nelson excels as busybody Polonius, who is doomed by his meddling. When he advises his son and daughter “To thine own self be true,” the audience erupted in applause.  He also delivers the often misquoted “Though this be madness, yet there is method in’t.”

No matter how much he tries, he can’t save his emotionally bruised daughter, who can’t cope with losing her parent. Sarah Chalfie is outstanding in her robust portrayal of Ophelia, one of the best I’ve seen.

She’s no fragile flower, not the usual whiny or showing too ethereal qualities, and instead gives a fully formed rendering of a psychologically battered young woman raised to be sweet and pretty, but there’s an independence and intelligence that she brings out too.

In real life, Chalfie is responsible for helping to save the day when original cast member Vaughn Pole was injured and unfortunately needed to be replaced as Laertes. Chalfie knew actor Grayson DeJesus had played the part twice before, and he came to the rescue. Considering that he had only four hours’ rehearsal before opening night May 30 and was so vibrant on stage was a remarkable feat. His dexterity and fervor were exceptional.

Hamlet, Ophelia. Photo by Phillip Hamer.

The supporting roles are fluidly handled by Max Fiorello, Daisy Held, Charlie Mathis and Ryan Omar Stack. Henry-Eagles and Brown also capably play another role other than their sharp preppies Rosencrantz and Guildenstern, and Larry Paulsen is also effective as the gravedigger, in addition to the fatherly spirit.

The presentation’s nifty flourishes in no way overshadow the passionate performances, for this tight ensemble rises to the occasion – it’s lucid, riveting and rhythmic in a way that the audience leans into the gripping action and the heartfelt agony.

Another outstanding addition to this year’s set is an eye-popping moving, motorized room that rolls up and down the stage on tracks, especially in the pivotal Polonius eavesdropping scene.

Perhaps music personifies this tale more than any other staged in recent years – although fine local musicians have added such gorgeous sounds in the previous comedies ‘As You Like It,” “Twelfth Night,” “Much Ado About Nothing” and “A Midsummer Night’s Dream.”

Music director/Composer Brandon Wolcott’s jazzy score played by East St. Louis trumpeter Brady Lewis is an integral part of the storytelling,. and recorded music sets the cinematic tone and heightens the ominous tension that builds in intensity.

Rosencrantz and Guildenstern, talk to Hamlet, center. Photo by Phillip Hamer.

Special mentions to choreographer Sam Gaitsch for her 50s ultra-cool dance moves, Zev Steinrock for his taut fight choreography, Laura Skroska as the key props master, stage manager Sarah Luedloff and assistant stage manager Britteny Henry for their brisk work, producer Colin O’Brien and assistant director Heather Anderson for assuring that all the elements come together in fine fashion.

This nontraditional dark adaptation is refreshing because its artistic accomplishments feel organic, and its collaborative creatives and cast dazzle without artifice for a truly enthralling evening. The play’s the thing! A haunting and hypnotic “Hamlet” starts the summer off with an exclamation point, and more is in store from St Louis Shakespeare Festival — with “Romeo and Zooliet,” the touring company’s “A Midsummer Night’s Dream” in 34 parks and an original St. Louis Shake in the Streets in East St. Louis.

St. Louis Shakespeare Festival presents “Hamlet” May 28 through June 22, nightly at 8 p.m. except Mondays in Forest Park’s Shakespeare Glen (near Art Museum). Admission is free but special seating is available for a fee. For more information, visit www.stlshakes.org

Laertes and Hamlet fence. Photo by Phillip Hamer.

Contraband’s ‘Am I Dangerous?’ Explores Different Aspects of Womanhood in a Femme-Forward Excursion

Contraband’s ‘Am I Dangerous?’ Explores Different Aspects of Womanhood in a Femme-Forward Excursion

By Lynn Venhaus
Looking at female agency through the prism of mothers, daughters and sisters, “Am I Dangerous?” is an earthy, sensual exploration written by a perceptive local playwright and performed by a quartet of instinctive actresses, directed by a shrewd Tress Kursym.

With such authentic credentials, the play’s perspective is set in the past, albeit a mythical framework, but resembles a modern coming-of-age tale.

Committed to fresh voices, Contraband Theatre presents this world premiere Wednesday through Sunday, Oct. 9 through Oct. 26, at The Chapel.

Playwright e.k. doolin asks: “If everything you knew burnt to the ground, what would you risk to discover who you are?”

It’s a thought-provoking entry into how females understand womanhood, whether based on observing behaviors or being schooled by elders on customs and culture – their wisdom hard-won.

The heroine’s journey begins with Philoten, 16, who appears to be a typical ‘good girl’ teenager trying hard not to be ‘dangerous.’ As played by Allison Sexton, she is a young woman trying to find her way. She’s been warned about those who are different and don’t follow the rules, those women who flaunt their bodies. But then, life – and death – happens, and chaos ensues.

Doolin has used a minor Shakespeare character in “Pericles, Prince of Tyre,” circa 1609, as her vessel to question patriarchy.

Zahria Moore and Jade Cash, with Allison Sexton in the background. Photo by Jennifer A. Lin

Dionyza (Zahria Moore) is her mother, who is also in charge of Pericles’s daughter, Marina (Jade Cash). They view each other more as enemies than friends. The fourth woman, Lychorida (Rachel Bailey), is a nurse who could be described as chief nurturer.

They share somewhat complicated connections and are not reticent in expressing their emotions. The focus is to confront and contrast facets of women at various stages. (They have all gone through some things!). Basically, they can run, but they can’t hide, no matter how they try to control their fates.

The dialogue appears to be a mixture of old and new styles, rooted in classic drama but with a contemporary edge. At times, the content seems like it’s translated from centuries-old text, while in other passages that establish characters’ motives, it appears to be modern musings.

Doolin has also incorporated the senses and the elements into her action, which adds an interesting texture. Kursym’s well-rehearsed ensemble are earnest in establishing their purpose, making sure they are heard as well as seen.

The actresses quickly convey their characters’ distinct personality traits. Sexton seamlessly conveys her doubts and anxieties as she questions if she is a danger because of how she views her life. Feeling like an outsider, she challenges the old-guard ways, which Dionyza is resistant to – and wants to control.

It is Sexton’s St. Louis professional acting debut, and she’s impressive. The other accomplished actresses are equally compelling.

Moore adds a haughtiness to the imperial-acting Dionyza, content to wait for the men to return home and steer their lives. She may smile, but there are motives behind the grin.

Allison Sexton and Jade Cash. Photo by Jennifer A. Lin

Marina and Philoten are oil and water, chafe at association, and accuse each other like they are teenagers grumpily thrown together. Cash is a live wire as the spunkier, more impetuous and sexually active young woman.

Bailey is convincing as a quintessential Earth Mother, and as always, commands the stage in whatever role she plays.

Three of the women are in dual roles as the gods that guard the Temple of the Sacred Sky, Sea and Earth, aka “The Watchers.”  They are tasked with judgment. Then we view flashbacks to see how the four women interact – relating joys, sorrows, desires and wistful memories.

The ancient setting, blending fantasy and reality, is imagined through astute atmospheric lighting design from Theresa Comstock, De’Janna Hand’s intriguing expressive sound design that has an ethereal quality. Erik Kuhn’s illustrates a simple coastal tableau in scenic design suited for the small stage, and director Tress Kursym’s costume design reflects the ages and status of the characters.

The play runs 90 minutes without an intermission.

Doolin has used the past to explore the present and raise concern about the future. It’s a topic worthy of continued conversations. Providing new perspectives and creating fem-tagonist opportunities is refreshing, and certainly welcome here.

Jade Cash, Rachel Bailey and Allison Sexton. Photo by Jennifer A. Lin

Note: On Thursday, Oct. 17, a post-show discussion on “Stealing from Shakespeare” will feature guest panelists Bryn McLaughlin, an independent director and scholar, and Hannah Baartman, a St. Louis theatre educator and performer with a deep well of inspiration in Shakespeare.

Part of the St. Louis theater community, they have performed on such local stages as The Muny, Metro Theater Company, St. Louis Shakespeare Festival, St. Louis Actors’ Studio and New Jewish Theatre. They will discuss the connection between the source text of “Pericles” and e.k. doolin’s script.

Contraband Theatre presents “Am I Dangerous?” Wednesday through Saturday at The Chapel, 6238 Alexander Drive, St. Louis. Performances are at 7:30 p.m. For more information, visit: https: contrabandtheatre.org

All tickets are pay-what-you-wish, from $0 to $30. Reserve your spot at https://events.humanitix.com/am-i-dangerous

Shakespeare TourCo’s Playful ‘The Tempest’ Makes a Big Splash at Local Parks

Shakespeare TourCo’s Playful ‘The Tempest’ Makes a Big Splash at Local Parks

By Lynn Venhaus

On an enchanted evening at local parks, you’ll be swept away to a far-off island, where mischief, magic and mayhem will ensue. This is a brave new world, where puppets are part of the storytelling and lovely music enhances the experience.

It’s one of those gratifying adventures that you will remember long after the summer’s heat has faded.

St. Louis Shakespeare Festival’s TourCo annual traveling show is a 90-minute adaptation of the Bard’s dramatic-tinged romantic comedy “The Tempest,” which is free each evening beginning at 6:30 p.m. at 24 parks in Illinois and Missouri from July 30 – Aug. 25.

Featuring a merry band of spry performers who appear to be constantly in motion, the six take on multiple roles. They will introduce themselves and their characters, and draw you into this tale of family squabbles, revenge, betrayal — and sorcery. Maybe it’s not exactly Paradise Island, but it is accessible Shakespeare.

The fine-tuned ensemble includes Joy Christina Turner as Prospero, the Duke of Milan who is a wizard too. He escaped to a remote island with his infant daughter Miranda (Daisy Held) years ago, because his deceitful double-crossing brother Antonio (Reginald Pierre) took over his dukedom with the help of Alonso (Alex Daspit).

Prospero has two very quirky servants – Caliban (Isaiah Di Lorenzo) and Ariel (Aliyah Jacobs) that carry out his schemes. He is determined to get his territory back and conjures up a storm so that his brother’s boat is shipwrecked, leaving Antonio and Alonso stranded.

Alonso’s son Ferdinand (Alex Daspit) is also there, as is Prospero’s trusted minister Gonzalo (Isaiah Di Lorenzo). Ferdinand is heir to the throne and Prospero puts him together with his now 15-year-old daughter, hoping a royal marriage is in their future.

The king’s jester Trinculo is played by Daisy Held and his head servant Stephano is played by Reginald Pierre, and they are a daffy duo. Held is also a spirit and Jacobs is a boatswain.

There are plans to thwart, people who must change their ways, a young couple to keep innocent, and meddling spirits.

Directed by Tom Ridgely with a big splash of whimsy, he favors broad strokes for the performers to play to whatever size crowd has assembled – and deal with whatever kind of conditions that spring up outdoors.

Ridgely is the festival’s producing artistic director, and under his guidance, they have shaped summers quite imaginatively the past few years post-pandemic – with its revered annual month-long offering in Forest Park; Shake in the Streets, where they take a hand-crafted show and bring it to a festive neighborhood setting; and this touring company, which has grown into delightful flights of fancy adapted for various park locations.

With such an esprit de corps, players are reminiscent of an old-timey troupe (think “Rosencrantz and Guildenstern Are Dead” and ‘The Fantasticks”) immersed as these strolling troubadours.

The addition of songs and puppets really enrichthe production values, and the stagecraft is exceptional in elevating the experience. Because the show’s presentation is focused on mobility and makeshift exteriors, the costumes, props and scenery are not hidden backstage, but placed off to the side, for folks to witness the process. Breaking the fourth wall, so to speak.

The clever costume designs by Sam Hayes consider the flexibility needed and differentiate the multiple characters, outfitting the females in airy, ethereal textures and the men in flamboyant brocaded jackets.

This play involves a masque, which was a popular technique in Renaissance England to combine music, dance and drama, so this is where the puppets come in, and they are effective in advancing the plot.

Puppet designer Ryan Marshall and puppet fabricator Taylor Abs created three tall imposing figures that mimic goddesses and smaller marionettes you find in puppet theater. They created dogs ready to attack, too. Abs also managed the props.

Stage Manager Britteny Henry kept everything moving without any glitches on the evening I went, and they have an admirable system in place.

The show was created for audiences of all ages, so pack a picnic, grab some chairs or a blanket, and experience a communal adventure that is a singular sensation.

SCHEDULE

July 30 – Spring Church, Grand Center
July 31 – Old Post Office Plaza, St. Louis
Aug. 1 – Metter Park, Columbia, Ill.
Aug. 2 – Schroeder Park, Manchester, Mo.
Aug. 3 – Carondelet Park, St. Louis
Aug. 4 – Frank Holten State Park, East St. Louis
Aug. 6 – Tower Grove Park, St. Louis
Aug. 7 – Lot at St. Ann & Augusta St., Normandy, Mo.
Aug. 8 – O’Day Park Amphitheater, O’Fallon, Mo.
Aug. 9 – Cortex Commons, St. Louis
Aug. 10 – 14th & St. Louis – Old North, St. Louis
Aug. 11 – Shaw Park, Clayton, Mo.
Aug. 13 –  Brussels Heritge Park,  Brussels, Ill.
Aug. 14 – Chesterfield Amphitheatre,  Chesterfield, Mo.
Aug. 15  – Ivory Perry Park, St. Louis
Aug. 16 – City Park, Edwardsville, Ill.
Aug.17  – January-Wabash Park, Ferguson, Mo.
Aug. 18 – Bellevue Park Bandstand, Belleville, Ill. 
Aug. 20 – 370 Lakeside Park Pavilion, St. Peters, Mo.
Aug. 21 – Fairground Park, St. Louis
Aug. 22 – Tisch Park at Washington University, St. Louis
Aug. 23– Love Bank Park, St. Louis

For more information, visit www.stlshakes.org.

Merry Ensemble Enlivens Shakespeare’s Frisky Frolic ‘As You Like It’

Merry Ensemble Enlivens Shakespeare’s Frisky Frolic ‘As You Like It’

By Lynn Venhaus

Need a vacation? Escape to Forest Park’s Shakespeare Glen for an idyllic summer treat, for “As You Like It” is a robust, refreshing tonic that celebrates the restorative powers of art, love, and nature.

An absolutely perfect vehicle for the St. Louis Shakespeare Festival’s annual offering, this 1623 romantic comedy is fun and frisky.

It’s been 20 years since it was last performed on the mainstage, and one of the playwright’s most accessible.

Sprinkling her magic fairy dust, director Nancy Bell demonstrates why she is a master interpreter of the Bard. A creative genius, she stamps every project with esprit and has a firm grasp of iambic pentameter.

In much the same way she has engaged audiences by transforming classics into easy-to-understand mashups in past local Shakespeare in the Streets projects, she maintains a breezy and playful atmosphere.

The festival’s former playwright-in-residence, she wrote the vigorous “Remember Me” performed outdoors in Maplewood, “Blow Winds!” downtown, “Good in Everything” in Clayton, “The New World” in Benton Park West, and the St. Louis Theater Circle Award winners for Best New Play “The World Begun” in Old North St. Louis and “Old Hearts Fresh” in The Grove.

Christian Thompson, Wali Jamal.. Photo by Phillip Hamer.

To further illustrate a point about embracing change in “As You Like It,” Bell’s adaptation is a liberating antidote to a stuffy and strait-laced patriarchal Gilded Age.

A scintillating ensemble conveys a more laid-back, accepting merry band of brethren – well, emphasis on a sisterhood – once action shifts to the Forest of Arden.

The contrasts couldn’t be sharper when imperious Duke Frederick – ever-reliable Joel Moses in high-handed wickedness, banishes his sister Duchess Senior, a feisty Michelle Hand, from the royal court. Oh pshaw!

Defiantly, the Duchess flees to the Forest of Arden, where she discovers exile can be rejuvenating. It’s another memorable performance from the inspired Hand.

Also thriving in this pastoral setting is the Duchess’ daughter Rosalind, a clever girl who disguises herself as a man, Ganymede. After all, this is Shakespeare, so of course the plot includes mistaken identities.

Caroline Amos is poetry in motion as Rosalind, sprinting across the stage with boundless energy. She is matched by the delightful Jasmine Cheri Rush as her loyal cousin-best friend Celia, the Duke’s daughter. Rush has returned for a second year, after playing Olivia in last summer’s “Twelfth Night.”

Bianca Sanborn, Michelle Hand, Riley Carter Adams, Beth Bombara. Photo by Phillip Hamer.

Rosalind falls in love with affable landowner Orlando, also displaced, and Christian Thompson is a charmer as her heroic object of affection, if a bit dim because he doesn’t suspect anything unusual.

In fairness, he’s pre-occupied trying to stay one step ahead of his scheming brother Oliver (Greg Cuellar), who is not very nice – as in trying to get his sibling killed.

Their lives become topsy-turvy, with thankfully Orlando having a change of heart, and the sweet Celia zeroes in on him.

Further wackiness ensues with the introduction of effervescent Ricki Franklin as bawdy Touchstone, a clownish character. Franklin’s a bright addition for the second year in a row, a scene-stealer last summer as Dame Toby Belch in “Twelfth Night,” a gender-bending turn that earned her a St. Louis Theater Circle Award,

Delivering one of Shakespeare’s most famous soliloquys, “All the world’s a stage…,” the mellifluous Wali Jamal earned applause immediately after reciting the passage so eloquently. He plays Jaques, a solitary and gloomy man who leans towards the melodramatic.

The multi-generational cast includes familiar and fresh faces, notably local treasure Joneal Joplin, who was in the festival’s first Forest Park show, “Romeo and Juliet,’ in 2001. He returns for his seventh one as Adam, a devoted servant of Sir Rowland de Boys, who is Oliver and Orlando’s father.

Jasmine Cheri Rush, Caroline Amos. Photo by Phillip Hamer.

Making her festival ensemble debut is winsome young teen Riley Carter Adams, a seasoned performer on local stages with television credits. She is listed as “young lady.”

Romance is on the mind of several characters. Kathryn A. Bentley is a likable shepherd Corin, a sage advisor to Silvius, who is not listening. CB Brown is endearing as the lad in need of guidance, for he’s in pursuit of Phoebe, who only has eyes for Rosalind (Ganymede).

Molly Wennstrom is spirited as the unpleasant but lovestruck shepherdess, whose course is altered by Touchstone’s interesting moves. Phoebe’s due for a rude awakening.

Two of the goofiest characters are Isaiah Henry as William, a simple, unsophisticated country boy crushing on goatherder Audrey, humorously played by Bianca Sanborn.

In a crowd-pleasing turn, St. Louis professional wrestler Lenny Mephisto, aka Maniacal Mephisto, is pitted against Orlando as Charles, a wrestler in the duke’s court.

The wrestling match is well-staged, thanks to savvy fight and intimacy choreographer Rachel Flesher, and Cuellar, who also is fight captain.

Lenny Mephisto, Christian Thompson wrestle. Photo by Phillip Hamer.

Captivating music is an integral part of this vibrant tableau, with an original score performed live on stage by local musician Beth Bombara in the role of faithful friend Amiens. Joining her are Sam Golden on viola and mandolin and percussionist Jeremy Reidy.

Scenic Designer Scott C. Neale, whose work has always astonished on the outdoor stage in Shakespeare Glen, has created a striking bucolic setting that is reminiscent of an old-timey illustrated picture book. Its reveal earned a hearty round of applause.

Among his six previous designs, you may recall his stunning set for “Antony and Cleopatra” in 2015 and “Henry IV and V” the year before.

As is customary, the technical work is superb, with distinct work by lighting designer Denisse Chavez and costume designer Dottie Marshall Englis. Sam Gaitsch choreographed buoyant moves, and props manager Taylor Laine Abs kept the accessories simple.

The unpredictability of working with live farm animals is evident with a goat and a sheep from D Bar S Ranch, which amused the crowd May 31. Apparently, from new accounts, they are adjusting to life in the spotlight.

Bianca Sanborn, Ricki Franklin. Photo by Phillip Hamer.

With its exuberant and energetic cast having a swell time on stage, that translates into one of the most enjoyable Shakespeare Festival’s mainstage efforts to date.

Due to their high standards, the festival has grown into the largest free outdoor Shakespeare play between the coasts. It’s a well-deserved achievement, and this supremely entertaining effort is not to be missed.

The festival is one of the best things about living in the St. Louis metropolitan region, and we are so very fortunate to be able to smile on a summer night under the stars in Forest Park.

St. Louis Shakespeare Festival presents “As You Like It” from May 29 to June 23, Tuesday through Sunday, at 8 p.m., free in Forest Park (Shakespeare Glen). https://stlshakes.org/production/as-you-like-it/

Shakespeare in the Park is free to attend, no reservations or tickets required for any of the performances. But every night a small number of reserved chairs and blanket spots are available for purchase – directly supporting the Festival’s mission and year round programming. Find your favorite spot: in the blanket-only section, box seats for up to six guests or general single-chair reservations.

CB Brown, Molly Wennstrom, Caroline Amos, Jasmine Cheri Rush. Photo by Phillip Hamer.
The company. Photo by Phillip Hamer.

A Fun Frolic, ‘This Palpable Gross Play’ is Imaginative Take on Shakespeare’s ‘Midsummer Night’s Dream’

A Fun Frolic, ‘This Palpable Gross Play’ is Imaginative Take on Shakespeare’s ‘Midsummer Night’s Dream’

By Lynn Venhaus

With full moon magic this week, step into the unique and absurd world created by the imaginative minds at SATE ensemble theatre for “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream.”

It’s Shakespeare flipped inside out, an end-of-summer trifle that follows SATE’s award-winning “Bronte Sister House Party” last year and Equally Represented Arts (aka ERA) with their thoroughly clever “The Residents of Craigslist.”

This ensemble is an appealing, adroit, and gifted group that is fully committed to appearing as if they are self-absorbed, clueless, temperamental, needy, and incompetent actors as the Mechanicals, in addition to feuding royals, and mismatched lovers.

The Mechanicals. Photo by Joey Rumpell.

The innovative Lucy Cashion, in a class all by herself, directs here with a touch of whimsy and a focus on the quirky. She is particularly good at dissecting classics and putting her own spin on them, such as “Trash Macbeth” in 2016 for ERA (St. Louis Theater Circle Award for directing) and “Oedipus Apparatus” for SATE in 2017.

She teams up here with the multi-hyphenate Ellie Schwetye, a distinctive writer also good at different takes on Jane Austen (“First Impressions,” St. Louis Theater Circle Award for Best New Play in 2018), who has adapted this version of Shakespeare’s beloved 16th century comedy.

Normally, the play starts with royal wedding planning, gets sidetracked with love potions and mixed-up pairings, and features a troupe of inept actors rehearsing a play as the special occasion entertainment. Instead of being the side hustle, the Mechanicals have the spotlight, and they shine in all their peculiar glory.

So, dive into their world, not knowing where you will go. You may think you know this play, but here, they’re steering the ship into uncharted, yet kinda familiar, waters. And that’s the fun of it.

The Mechanicals are referred to as skilled manual laborers, and others look down on them. But for this amateur troupe, there’s no way to go but up. Kayla Ailee Bush is bellows-mender Francis Flute, Andre Eslamian is weaver Nick Bottom, Anthony Kramer Moser is joiner Snug, Joshua Mayfield is tinker Tom Snout, Ross Rubright is tailor Robin Starveling, and Kristen Strom is carpenter Peter Quince, the director. Strom’s presiding over the circus as if she’s Orson Welles directing the Mercury Theatre.

Victoria Thomas and Ross Rubright. Photo by Joey Rumpell.

Moser is very funny getting into his lion role, and with the others, their idiosyncrasies emerge as they develop the characters for the tragic love story of “Pyramus and Thisbe,” set in Babylon. Andre Eslamian plays Bottom as an insufferable know-it-all. Joshua Mayfield’s Tom Snout is perturbed about how he’s moved around, and so is Kayla Ailee Bush’s Francis Flute. (The sextet is so bad, the audience thinks it’s a comedy). Master thespians, you know.

Well, they may be delusional, but they are giving it their all as they prepare to mount the play-within-a-play, hopeful of entertaining at Theseus and Hippolyta’s royal wedding. Of course, they question their parts, bicker with castmates and Quince, trying to get the attention they need and ‘deserve.’  

Now, in context, we don’t see Theseus and Hippolyta here, but they are the toast of the town, as he is the Duke of Athens and she is the Queen of the Amazons.

I digress.

Puck/Robin Starveling (Ross Rubright), Titania (Victoria Thomas) and Oberon (Spencer Lawton) are outfitted to look like old-timey movie stars of the silent era, extras in “The Great Gatsby,” or maybe Puck is the bartender in “The Shining.”

They have an aristocratic air, and wear Liz Henning’s gorgeous period attire beautifully. As the king and queen of the fairies, Titania and Oberon are estranged and feuding, and Thomas and Lawton make that obvious, as if they are reciting lines in a Noel Coward play.

In another flip, Oberon falls in love with Bottom, who’s now costumed as a donkey. Hee-haw! Eslamian and Lawton display deft physical comedy skills during this turn of events.

Oberon and Bottom. Photo by Joey Rumpell.

Dapper in tails, Ross Rubright introduces himself as Robin Starveling as he welcomes the audience. The tall Rubright is visually striking, and then he begins his contrasting monologues, as if auditioning, and reads a commercial for Lunesta, a prescription sleep aid, including a long list of side effects. It sets the mischievous mood beautifully.

Rubright may not be sprite-size, but as Puck, he smoothly moves around creating dazed and confused mayhem with his lantern, wafting potion, and magic powers.

That iconic butterfly logo will be referred to several times and its shimmering wings used in another ‘wow’ vision from Henning.

Now the star-crossed lovers make an appearance too, as the cast doubles roles: Hermia (Bush), Lysander (Moser), Helena (Strom), and Dementrius (Mayfield). In Shakespeare’s original, Hermia is in love with Lysander, but her father wants her to marry Demetrius, who is in love with her, but Helena is in love with him. It’s complicated.

The creative team is first-rate, too, with Erik Kuhn’s atmospheric lighting design noteworthy. Joe Taylor’s original music score is a delightful throwback to such ‘30s styles as “Moonlight Serenade” and Cole Porter.

 Cashion and Schwetye collaborated on the scenic design – a summer house’s study where Titania and Oberon are ensconced, and use front space for the woodland where rehearsals are staged. Jimmy Bernatowicz, the stage manager, and Rachel Tibbetts, the co-producer, also contributed to the overall experience.

The Mechanicals. Photo by Joey Rumpell.

The play has a fantasy quality reminiscent of the 1935 movie, which is mesmerizing in its depiction of the glistening fairies frolicking in the forest created through rudimentary visual effects back then. (The casting is memorable too – James Cagney is Nick Bottom and Mickey Rooney is Puck!)

“This Palpable Gross Play” is tantalizing with its witty take on illusions and theme of metamorphosis. The folly is fun, thanks to the harmonious cast and crew’s efforts. Adventurous theatergoers can applaud their good fortune at seeing a fresh interpretation of an enduring classic.

Note: The script of “This Palpable Gross Play” will also receive productions with Clayton High School and with Prison Performing Arts.

SATE is presenting “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream” Aug. 16 through Sept. 2, with performances Wednesday through Saturday at 8 p.m. at The Chapel, 6238 Alexander Drive. It is 90 minutes without an intermission. Tickets are $25 and can be purchased through Eventbrite. For more information, visit www.satestl.org.

Photo by Joey Rumpell.

Shakespeare Festival Shakes Up ‘Twelfth Night’ With Latin Flavor

Shakespeare Festival Shakes Up ‘Twelfth Night’ With Latin Flavor

By Lynn Venhaus

Your first clue that we’re not in Missouri anymore is the palm trees jutting out from a swanky home’s backyard pool and patio right here in St. Louis’ own Forest Park.

That au-currant set design by Regina Garcia tips us off that we’re being transported to the vibrant cultural confluence that is a Latin-infused coastal town, aka Illyria (nod to Miami), where romance, music and festive fun are priorities.

Funny, flamboyant, and even frivolous at times, “Twelfth Night” is given a fresh spin by St. Louis Shakespeare Festival that is ideally suited for the outdoor month-long production at Shakespeare Glen.

Considered William Shakespeare’s “greatest comedy,” it’s certainly one of his most accessible – and director Lisa Portes has set it in a modern celebrity-filled metropolis, creating vivid characters and a glitzy vibe.

Portes, who heads the MFA directing program at The Theatre School at DePaul University in Chicago, framed it as an exile story. Her father came over to America from Cuba when he was 15, during the Cuban Revolution.

It’s a tale of young Viola (Gabriela Saker) who is rescued after being shipwrecked, and she believes her twin brother Sebastian (Avi Roque) has succumbed to a tragic fate, lost at sea.

Ryan Garbayo as Malvolio who flips for Olivia. Photo by Phillip Hamer.

After separation, each has reinvented themselves, trying to find their way in a strange new world. Disguising herself as a male, “Cesario,” so she can work for soccer celeb Orsino, Viola discovers love at first sight with the affluent jock, now her boss – and is thrust into a poolside whirlwind journey.

For the most part, a crackerjack ensemble weaves a merry tale of mistaken identities with aplomb.

Scene-stealers Ricki Franklin, funny as the loud party girl Dame Toby (a gender switch from Sir Toby Belcher), and Cassidy Flynn, reminiscent of comic actor Charlie Day in his chaotic antics as Sir Andrew Aguecheek, are standouts. As the obnoxious ringleaders of revelry, they elicit shrieks of laughter from the engaged crowd.

Unfortunately, the cast was uneven early in the run (on June 2), and there are a few trouble spots (chalk it up to the demands of a large outdoor show?). Orsino is supposed to be a robust figure, yet Felipe Carrasco, who physically looked the part, seemed rather nondescript in the role.

Feste, the fool, is usually wacky on stage, and Esteban Andres Cruz is daffy in demeanor, but the downfall here was that they were flat and offkey singing some of the Latin-infused melodies, including a pitchy duet with Viola. However, they projected a flashy personality in the costumes designed by Danielle Nieves.

Nevertheless, the instrumental rhythms arranged by Music Director David Molina, including traditional Latin songs with contagious beats, was superbly performed by band leader Phil Gomez and Clave Sol (Gomez on piano, Tung on bass, Thor Anderson on Congas and Herman Semidey on timbales and percussion). Molina was the sound designer as well.

Photo by Phillip Hamer

With such a glamorous setting, of course Nieves’ costumes would reflect a hot and hip attitude, and none more so than Jasmine Cheri Rush, who looks and moves like Beyonce.

Her comical outfitting of a lovesick Malvolio (a delightful Ryan Garbayo) is one of the evening’s biggest laughs.

Alisha Espinosa as Maria, Adam Flores as Fabian, and Christina Rios as Captain offer fine support as Olivia’s team (Rios also returns as a priest), while Adam Poss plays Valentine and Femi Aiyesgbusi is Curio, two of Orsino’s attendants. Poss also plays Antonio, who falls in love with Sebastian after rescuing him.

The coupling – Antonio loves Sebastian, Viola loves Orsino, Orsino loves Olivia, Malvolio loves Olivia, and Olivia loves Roderigo (aka Sebastian) – gets very complicated with the mistaken identities and unrequited love (which, if seem familiar, are plot threads copied from Shakespeare for centuries). It might be helpful to read the large graphics board set up on the grounds to explain the players and what happens.

Olivia and Viola aka “Cesario”

As Shakespeare once wrote in another play, all’s well that ends well, and love is love – and indeed will eventually triumph in certain cases.

The sleek designs – John Wylie’s cool lighting really makes the set pop – amplify the culture and community for a most pleasant summer evening.

The expressed joie de vivre makes this one of the liveliest Shakespeare in Forest Park productions in tone and tempo, and its heartfelt message about acceptance and identity a hopeful takeaway.

St. Louis Shakespeare Festival presents the comedy “Twelfth Night” Tuesdays through Sundays at 8 p.m. except on Mondays, from May 31 to June 25, in Shakespeare Glen in Forest Park. (Across from the Art Museum). The grounds open at 6:30 p.m., and the show is 2 hours, 30 minutes, with an intermission. For more information, www.stlshakes.org.


Orsino and bodyguard. Photo by Phillip Hamer.

The Black Rep’s ‘The African Company Presents Richard III’ Looks Back at a Pivotal Moment in Time

The Black Rep’s ‘The African Company Presents Richard III’ Looks Back at a Pivotal Moment in Time

By Lynn Venhaus

Bigotry is an ugly thing to witness, even in the context of 1821. It’s expected, but always unsettling, no matter what period.

So, when the first scene of “The African Company Presents Richard III” opens with a condescending and arrogant white supremist shutting down a competing Shakespearean production, that sets the tone for a battle between right and might.

As Stephen Price, the haughty and cruel producer at the Park Theatre, Eric Dean White will make your skin crawl. He is threatened by their success and will use his influence to get the powers-at-be to make it hard on them.

While our sympathies lie with the performers in The African Company, they are having their own conflicts to deal with from within that threatens their existence too.

This 1994 play within a play by Carlyle Brown is a provocative showcase for compelling artists in The Black Rep’s latest riveting work. And opens the Black Rep’s 46th season in fine fashion.

Based on a true story, Brown’s drama is set in pre-Civil War New York when two productions of Shakespeare’s “Richard III” are vying for audiences. Slavery was not outlawed yet, but there were more free blacks living there.

Shakespeare famously said, “The play is the thing,” and The African Company, through the Black Rep’s hard-hitting production, shows you why art can break barriers, and all the challenges are worth it.

Cameron Jamarr Davis as James Hewlett as Richard III. Photo by Phillip Hamer.

The first black theatre in the U.S., The African Company of New York was a downtown theater growing in popularity with not only black audiences, but white audiences too. Their satires drew crowds, particularly when it was about the status quo white society. And the unenlightened were outraged those blacks had a voice. How dare they tackle the Shakespeare and other British classics!

William Henry “Billy” Brown had turned his home’s backyard into The African Grove, where blacks could socialize as society became increasingly segregated, then he expanded to theater, founding The African Company.

Price’s company has paid a renowned British actor, Junius Brutus Booth (father of John Wilkes Booth), a pretty penny and a sweet contract promising a full house, so they want a return on the investment, more revenue, and will not play nice.

The black theater doesn’t have the luxuries afforded the other theater, and most of the actors work as domestic servants or as laborers or in other roles.

“We all charade one great role of the happy, obedient Negro,” says character James Hewlett, the first black Shakespearean actor in U.S., and is playing the lead role.

Some of the cast is worried about the police shutting them down. What if they are taken to jail?

Director Ron Himes keeps the tension simmering both in racial friction and the tussling actors. He ensures that the company’s commitment to art is a focal point, while he laces this distinctive history lesson with humor and music.

As Hewlett, Cameron Jamarr Davis is passionate about the work, and doubles-down on his conviction, despite mounting odds – and a complicated romantic entanglement.

Ann Johnson, the actress playing Lady Anne, is exhausted by her day job and feelings that don’t seem to be reciprocated in equal measure. She is confused by the part and the play’s action, and not afraid to say so. Coda Boyce gives a fierce performance as someone speaking up for herself, and not compromising in a world that expects her to be subservient.

Alex Jay is a strong Sarah, who tries to keep things going smoothly, and is an accomplished seamstress. Costume designer Andre Harrington has beautifully captured the period and the royal costumes.

Olajuwon Davis is tough and tenacious in his portrayal as the dedicated, steadfast promoter Brown, who tries to not let what he calls “silly” views of white people grind him down. He channels his anger into action.

In real life, Brown wrote “The Drama of King Shotaway,” which is considered the first play by an African American and was about the black Caribbean war of 1796 against white settlers. Somehow, it’s been lost. However, what he did for blacks in theater will never be forgotten.

Papa Shakespeare is trying hard to keep them together. He’s quite a storyteller, a repository of history and wisdom – and colorful, as played by Wali Jamal Abdull. As the racist constable, Dustin Petrillo is a despicable meanie.

The simple set, designed by Jamie Bullins, doubles as a rehearsal hall and a theatrical stage, well-accented by Jasmine Williams’ lighting design.

This well-acted, well-staged play is a noteworthy moment in time that will resonate with modern audiences, for its power is timeless.

The Black Rep presents “The African Company Presents Richard III” Sept. through Sept. 25 at the Edison Theatre on the campus of Washington University. For more information, visit www.theblackrep.org

Photos by Phillip Hamer