Sunday, January 23, 2011

The Sixth Annual Kevin Kline Awards Nominations

The Kevin Kline Awards honor excellence in St. Louis professional theater, and are presented by the Professional Theatre Awards Council, and the nominees for the Sixth Annual Kevin Kline Awards are out!

The Award winners will be announced in a ceremony on Monday, March 28 at the Loretto-Hilton Theater.  Congratulations to all of the nominees!

Outstanding Production for Young Audiences
"Delilah's Wish," Metro Theater Company
"A Peter Rabbit Tale," The Rep's Imaginary Theatre Company
"Amelia Earhart," The Rep's Imaginary Theatre Company
"The Aristocats," Stages St. Louis
"The Nutcracker," The Rep's Imaginary Theatre Company

Outstanding New Play or Musical
Jami Brandli, "The Sinker," HotCity Theatre
Lee Patton Chiles, "Eye on the Sparrow — The World Within St. Louis," Gitana Productions
David Slavitt, translator, from Sophocles, "Oedipus King," Upstream Theater
Sandra Marie Vago, "Treading Backwards Thru Quicksand Without Wearing Your Water Wings," Black Cat Theatre

Outstanding Costume Design
JC Krajicek, "Tartuffe," Mustard Seed Theatre
Dorothy Marshall Englis, "Hamlet," Shakespeare Festival St. Louis
John Inchiostro, "The Aristocats," Stages St. Louis
JC Krajicek, "Crumbs from the Table of Joy," Mustard Seed Theatre
Jess Goldstein, "High," Repertory Theatre of St. Louis

Outstanding Lighting Design
Brian Sidney Bembridge, "Crime and Punishment," Repertory Theatre of St. Louis
Matthew McCarthy, "Big River," Stages St. Louis
Matthew McCarthy, "Promises, Promises," Stages St. Louis
John Lasiter, "High," Repertory Theatre of St. Louis

Outstanding Set Design
Gianni Downs, "Crime and Punishment," Repertory Theatre of St. Louis
Christopher M. Waller, "It Had To Be You," Max and Louie Productions
Mark Halpin, "Promises, Promises," Stages St. Louis
Michael Heil, "Oedipus King," Upstream Theater
David Gallo, "High," Repertory Theatre of St. Louis

Outstanding Sound Design
Mic Pool, "The 39 Steps," Repertory Theatre of St. Louis
Josh Limpert, "Outlying Islands," Upstream Theatre
Ann Slayton and Robin Weatherall, "Hamlet," Shakespeare Festival St. Louis
Matthew Koch, "Slasher," HotCity Theatre

Outstanding Ensemble in a Play
"The 39 Steps," Repertory Theatre of St. Louis
"Outlying Islands," Upstream Theater
"Hamlet," Shakespeare Festival St. Louis
"High," Repertory Theatre of St. Louis
"The Chosen," Mustard Seed Theatre

Outstanding Supporting Actress in a Play
Kari Ely, "Why Torture Is Wrong, and the People Who Love Them," HotCity Theatre
Kimiye Corwin, "Hamlet," Shakespeare Festival St. Louis
Colleen Backer, "Our Town," Stray Dog Theatre
Patrese McClain, "Crumbs from the Table of Joy," Mustard Seed Theatre
Kelley Ryan, "Equus," HotCity Theatre
Betsy Bowman, "The Tempest," St. Louis Shakespeare
Susan Greenhill, "Next Fall," Repertory Theatre of St. Louis

Outstanding Supporting Actor in a Play
Jerry Vogel, "Outlying Islands," Upstream Theater
Bobby Miller, "Laughter on the 23rd Floor," New Jewish Theatre
Evan Jonigkeit, "High," Repertory Theatre of St. Louis
Richard Lewis, "The Chosen," Mustard Seed Theatre
Aaron Orion Baker, "Long Day's Journey Into Night," Muddy Waters Theatre

Outstanding Lead Actress in a Play
Michelle Hand, "Fires in the Mirror," Mustard Seed Theatre
Magan Wiles, "My Name Is Rachel Corrie," Blue Rose Stage Collective
Kathleen Turner, "High," Repertory Theatre of St. Louis
Kari Ely, "Long Day's Journey Into Night," Muddy Waters Theatre

Outstanding Lead Actor in a Play
Jason Cannon, "Outlying Islands," Upstream Theater
Scott McMasters, "Outlying Islands," Upstream Theater
Jim Butz, "Hamlet," Shakespeare Festival St. Louis
Drew Pannebacker, "Equus," HotCity Theatre
Alan Knoll, "This Wonderful Life," Dramatic License Productions

Outstanding Director of a Play
Philip Boehm, "Outlying Islands," Upstream Theater
Bruce Longworth, "Hamlet," Shakespeare Festival St. Louis
Doug Finlayson, "Equus," HotCity Theatre
Philip Boehm, "Oedipus King," Upstream Theater
Rob Ruggiero, "High," Repertory Theatre of St. Louis
Deanna Jent, "The Chosen," Mustard Seed Theatre

Outstanding Production of a Play
"Outlying Islands," Upstream Theater
"Hamlet," Shakespeare Festival St. Louis
"High," Repertory Theatre of St. Louis
"The Chosen," Mustard Seed Theatre

Outstanding Choreography
Lazette Rayford-O'Brien, "Five Guys Named Moe," the Black Rep
Heather Beal, "The Me Nobody Knows," the Black Rep
Mary MacLeod, "Damn Yankees," the Muny
Suzanne Viverito, "Cats," the Muny

Outstanding Musical Direction
Charles Creath, "Five Guys Named Moe," the Black Rep
Sallie duMaine, "Pump Boys and Dinettes," Bear Stage
Michael Horsley, "Damn Yankees," the Muny
Lisa Campbell Albert, "Promises, Promises," Stages St. Louis
Ben Whiteley, "The Sound of Music," the Muny
Catherine Majetka, "Show Boat," the Muny
Henry Palkes, "The Last of the Red Hot Mamas," New Jewish Theatre

Outstanding Ensemble in a Musical
"Five Guys Named Moe," the Black Rep
"The Wild Party," New Line Theatre
"Damn Yankees," the Muny
"Cats," the Muny
"The Aristocats," Stages St. Louis
"Show Boat," the Muny
"State Fair," Stages St. Louis
"The Last of the Red Hot Mamas," New Jewish Theatre

Outstanding Supporting Actress in a Musical
Sharisa Whatley, "The Me Nobody Knows," the Black Rep
Brandi Wooten, "Promises, Promises," Stages St. Louis
Jo Ann Hawkins-White, "Show Boat," the Muny
Johanna Elkana-Hale, "The Last of the Red Hot Mamas," New Jewish Theatre

Outstanding Supporting Actor in a Musical
Joneal Joplin, "The Fantasticks," Repertory Theatre of St. Louis
Lara Teeter, "Beauty and the Beast," the Muny
Kevin Loreque, "Cats," the Muny
Michel Bell, "Show Boat," the Muny

Outstanding Lead Actress in a Musical
Vanessa Rubin, "Yesterdays: An Evening with Billie Holiday," the Black Rep
Stephanie J. Block, "Cats," the Muny
Ashley Brown, "The Sound of Music," the Muny
Leah Horowitz, "Show Boat," the Muny
Hollie Howard, "State Fair," Stages St. Louis

Outstanding Lead Actor in a Musical
Ben Nordstrom, "Gutenberg! The Musical!," Temporary Theatre
John Sparger, "Pump Boys and Dinettes," Bear Stage
Jeffrey Pruett, "The Wild Party," New Line Theatre
Eric Kunze, "Damn Yankees," the Muny
Ben Nordstrom, "Promises, Promises," Stages St. Louis

Outstanding Director of a Musical
Ron Himes, "Five Guys Named Moe," the Black Rep
Paul Blake, "Damn Yankees," the Muny
Michael Hamilton, "Promises, Promises," Stages St. Louis
Marc Bruni, "The Sound of Music," the Muny
Edward Coffield, "Man of La Mancha," Insight Theatre Company

Outstanding Production of a Musical
"Five Guys Named Moe," the Black Rep
"Big River," Stages St. Louis
"Damn Yankees," the Muny
"Promises, Promises," Stages St. Louis
"The Sound of Music," the Muny
"Show Boat," the Muny
"State Fair," Stages St. Louis

Thursday, January 20, 2011

"Opening Night" • Whoa… it's a film!

"I seem to have lost the, uh, reality of, of the, uh… reality".
~Myrtle Gordon, "Opening Night"
A film about a Broadway actress having a psychological breakdown during out-of-town previews?!  I'm in.
Now don't get me wrong, I have no intention of turning the focus of this blog to movies, but I was recently re-introduced to this film (thanks for the x-mas gift, Kay!), and was struck by its impact, and felt compelled to write about it.
This is one of those films that you show to 7 people, and you get 7 different opinions on what it's about.  Reminds me of my college days in film classes watching "non-conventional" movies with subtext all over the place.  I'm sure there's been more than one or two film school papers written about this puppy, and for good reason.
I can't talk about this movie without a little examination of its director, John Cassavetes and his style.  He was an actor, screenwriter, filmmaker and pioneer of independent film, whose work often examined the lives of those who were on the brink.  He avoided the big budget movie system, often financing his own projects, filming parts of many of them in his own house.  He was anti-plot devices, anti-big name movie stars, and anti-Hollywood.  Although his films have often been mistaken for being improvised, he usually always had a script.  But he made sure his films served his most important consideration -- the performance of the actors.  Because of this, they often featured long takes (including what happened between takes), natural light, off the shoulder camera work, and tight intimate shots of his actors.  Love…
 John Cassavetes (Maurice Aarons),
Ben Gazzara (Manny Victor), and Gena Rowlands (Myrtle Gordon).
This film revolves around Myrtle Gordon (Cassavetes' real-life wife, Gena Rowlands), an accomplished stage and film actor.  At the start, we're immediately propelled into the backstage environment as Myrtle takes a healthy swig of liquor before she meets Maurice, (Cassavetes) an ex-lover and current co-star, on-stage.  A scene from the play follows.  Myrtle and her cast-mates are having out-of-town previews in New Haven, Connecticut for a new play.  As Myrtle and her entourage are driving away from the theatre that night in the rain, one of her young fans, Nancy, is run over and killed in a car accident.  This seems to set off a psychological breakdown in Myrtle that she wrestles with for the rest of the film -- disrupting her concentration, putting the play's success in jeopardy, and instigating a recurring apparition of Nancy serving as, presumably, a representation of Myrtle's lost youth.
Gena Rowlands (Myrtle Gordon)
and Zohra Lampert (Dorothy Victor).
The play within the film, "The Second Woman", concerns a woman who is dealing with her lessening power as she gets older.  Truth is, it's hard to decipher exactly what this play is about, but word is that Cassavetes put an advertisement in a local paper for people who would dress up and watch some actors perform scenes from a play. He didn't tell them when to laugh or applaud, because he wanted their reactions to be genuine.  Cinéma Vérité at its finest.  On the surface, this appears to be a film about aging (huge photographs of an elderly woman loom at the center of the on-stage set).  The most explosive on-stage scenes show Myrtle dressed in black with a veil (subtext, anyone?).

While aging is a predominant theme of the film, it incorporates much more than just that.  I've read that Cassavetes was very sensitive about actors, and (though appearing in many films himself) was fascinated with how they see themselves, as opposed to how others see them.  In this film, Myrtle's life is a balancing act.  While she's doted on by her dedicated props man and dresser, she's struggling with an on-stage character she resents having to portray -- not wanting to be seen as an "over the hill matron", enduring passive insults from her playwright (Joan Blondell) -- many years her senior, adoration from her fans -- a constant stage-door presence, and flirtatious, at times almost patronizing compliments from her director (Ben Gazzara), while all the time, trying to deal with her hallucinations of Nancy (Laura Johnson), and her own personal doubts of her significance at this precarious point in her life -- middle age.  In a constant blurring of the lines between on-stage drama and off-stage reality, this film has a way of gripping you from the get go.  Honestly, I could write an essay about this film, but I don't have the attention span I used to, and I would probably get a headache from the exertion.
The film culminates at the opening night in NYC.  Myrtle has gotten completely drunk, shows up late to curtain, and the rest of the film looks at how she manages through the show.  Does she win or lose?  That's open to interpretation, but John Cassavetes wasn't about giving the audience any easy answers.  There's a great excerpt from this particular scene in the clip included below at around 2 min. 18 sec. in.
It's kinda heavy, but incredible -- if you like this kind of style.  Rowlands won the Silver Bear for Best Actress at the 28th Berlin International Film Festival for her performance.  I pledge an everlasting love to her.  She's magnificent.
Toneelgroep Amsterdam's
Photo: Sara Krulwich
The New York Times
"Opening Night", Cassavetes' ninth film, was completed in 1977, but tragically didn't receive a U.S. release until 1991.  I naturally wondered why this hadn't been adapted for the stage, but after a bit of googling online, I found out that it had!  In December 2008, Toneelgroep Amsterdam, the Netherlands' largest repertory company, staged OPENING NIGHT, directed by Ivo van Hove at New York's Brooklyn Academy of Music.
Here's a trailer for the film.  It's a wonderful trailer, at a little over 4 and a half minutes.  It's longer than your average trailer, but I practically wet myself when I watched it on my DVD.  It gives you a perfect taste of what this film's about (with a sweet french horn riff at 4 min. 14 sec. in).  Trust me -- if this trailer piques your interest, check it out.  This, I think, is a must-see for all theatre lovers.

"Opening Night"
Gena Rowlands (Myrtle Gordon), John Cassavetes (Maurice Aarons), Ben Gazzara (Manny Victor), Joan Blondell (Sarah Goode), Paul Stewart (David Samuels), Zohra Lampert (Dorothy Victor), Laura Johnson (Nancy Stein) and John Tuell (Gus Simmons).
Directed by John Cassavetes; produced by Al Ruban; written by John Cassavetes; music by Bo Harwood; cinematography, Alan Ruban; editing by Tom Cornwell.
1977 release: Faces Distribution; 1991 release: Castle Hill Productions
Original release: December 22, 1977; Theatrical re-release: May 17, 1991
Running time: 144 minutes

Tuesday, January 11, 2011

THE GIVER • Metro Theater Company

Soon to be 12 year old Jonas lives in a drab gray world.  Literally.  Everyone is mechanically polite, eerily agreeable, and although nobody seems to experience any pain, they don't seem to genuinely experience pleasure, either.  Utopian society anyone?  Actually, the environment in this provocative play is more dystopian than anything else.  Dystopian…  Cool word, right?  I learned it reading online about the book…

Anyhoo, THE GIVER, originally an award winning sci-fi book for young readers written by Lois Lowry and adapted for the stage by Eric Coble, is what's on offer at Metro Theater Company.

Jonas (Christian Probst & Mitchell List) along with his friends Fiona (Berklea Going & Anna Nielsen) and Asher (Ian Miller & Elijah Brown), are looking forward to "the ceremony" where "the twelves" get their assignments.  When kids turn twelve, they are given these jobs -- jobs they must carry out for the rest of their lives.  Jonas is assigned "Receiver of Memory".  This responsibility means that he will be the reservoir for the community's memories of things past -- before their society was converted to "sameness".  These memories are transmitted to Jonas by "The Giver" (Nicholas Kryah).  Everything from the memories of color, war and grandparents to music, pain and love must be handed over to their new keeper.  The play gets darker when Jonas learns about the more sinister goings on -- like how those who are deemed not acceptable are "released".  You can just imagine what that's about.  It's a well-trod concept, but one that I enjoyed here.

Nick Kryah (The Giver) and Mitchell List (Jonas).
Photo credit: Suzy Gorman
It gets a great treatment under Carol North's direction and her cast of talented young actors.  The kid's roles are cast with alternates and the day I saw it, Mitchell List did a wonderful job as Jonas.  The cast, kids and adults, was good, particularly Nicholas Kryah as "The Giver".  The set was simple and reflected the dreariness of this slightly spooky world, except for when things are slowly learned by Jonas, and the set pops with pockets of color that nicely compliment the plot.  Beckah Reed's choreography was very thoughtful and the sound (Rusty Wandall and guest artist, Lance Garger) did such an amazing job stepping in -- accentuating the things that couldn't be physically shown, that there were times when I looked forward to what I was going to hear next.

Take your kids to this show!  Take 'em to a show -- indoors…  You know what I'm saying…
I bet they'll walk out thinking about it, and you can't beat that.

Christian Probst (Jonas) and Nick Kryah (The Giver).
Photo credit: Suzy Gorman

Written by Eric Coble
Directed by Carol North 
Edison Theatre, 6445 Forsyth Blvd. 
through January 23 | tickets: $12 - $16
Performances Fridays and Saturdays at 7:30pm, Sundays at 2pm

Nicholas Kryah (The Giver), Stephanie Strohman (Mother), David Wassilak (Father), Christian Probst & Mitchell List (Jonas), Ian Miller & Elijah Brown (Asher), Berklea Going & Anna Nielsen (Fiona), Sarah Koo & Sydney Dorton (Lily) and Lance Garger (Guest artist).

Scenic design by Dunsi Dai; costume design by Lou Bird; lighting design by John Wylie; sound design by Rusty Wandall; choreography by Beckah Reed.

Sunday, January 9, 2011

PERICLES • The Black Rep

The Black Rep opens its 34th season with PERICLES, a Shakespeare play that's seldom performed.  It draws from a couple of sources, and is generally thought of to have been only half written by Shakespeare.

It seems tempting for many directors to play around with times and locations for Shakespeare's plays.  Andrea Frye's direction moves the locales from places like Tarsus, Pentapolis, Ephesus and Mytilene, to Pre-Colonial Africa, 20th century Haiti, 1950's Havana, the Gullah Islands in the 1960's and 1920's New Orleans.

Ka’ramuu Kush (Pericles).
Photo credit: Stewart Goldstein
Gower (Robert Mitchell), our amiable narrator, sets the stage before each scene.  As the play begins, Pericles (Ka’ramuu Kush), the fictional Prince of Tyre, must solve a riddle in order to win the hand of the daughter of the King of Antioch.  Those who answer the riddle incorrectly will die.  The answer, Pericles realizes, reveals an incestuous relationship the King is having with his daughter.  Solving the riddle or not answering would both cost Pericles his life.  He hints to the King that he knows the answer, but doesn't reveal it.  He asks for more time, and escapes from the city.  The King sends out an assassin after him, lest his dirty little secret get out.  Pericles returns to his home, and is advised to make tracks out of town.  He's then sea-swept from one adventure to another.  His ship is wrecked by a storm, and he's washed onto foreign shores where he becomes the unlikely winner of the hand of Thaisa, the daughter of yet another King.  Honestly, laying out all of the plot is really tempting, because it's just all so crazy.  Let's just say that along the way, you'll encounter miraculous feats of survival, "virgin whores", murder plots, abduction and unlikely reunions.  Oh, and he also manages to save a starving nation.

Rich Pisarkiewicz (Simonidies) and
Patrese D. McClain (Thaisa).
Photo credit: Stewart Goldstein
This is not one of Shakespeare's popular plays.  It's filled with improbable events that will put your willful suspension of disbelief to the test.  But with Frye's re-imagined direction -- shaking it up and putting a different spin on the time-frames made it much more interesting.  The brothel set in New Orleans was a particularly great scene.  Most everyone plays multiple roles, but there were many standouts.  Ka’ramuu Kush made for a handsome Pericles, showing the full range you'd expect in anyone performing the lead in a Shakespeare play.  Patrese D. McClain was charming and quite funny at times as Thaisa, and Susie Wall stole the scenes set in the New Orleans brothel as Bawd.  It was hard to take your eyes off of Linda Kennedy in every scene she was in, and Robert Mitchell was wonderful as Gower.  Great performances from Chauncy Thomas, Rich Pisarkiewicz, Theo Wilson, Sharisa Whatley, and the rest of the hard-working cast as well.

Photo credit: Stewart Goldstein
Dunsai Dai's two-tiered set was simple, effective and allowed for plenty of room for the action.  Mark Varns' lighting was unobtrusive but the night I saw it, one of the color filters on the projector had gone out, but it really didn't matter too much.  The variety of locations made it possible to incorporate a wide range of beautiful costumes (Sarita Fellows) and music (Robin Weatherall), but there were some dodgy moments when the incorporation of the sound wasn't as seamless as you'd like it to be, but still, I was pretty much captivated from the beginning.  It's running until the 30th, and it's a good opportunity to see a rarely performed Shakespeare play with a new spin.


Written by William Shakespeare
Directed by Andrea Frye
Grandel Theatre, 3610 Grandel Square 
through January 30 | tickets: $17 - $47
Performances Wednesdays and Thursdays at 7pm, Fridays and Saturdays at 8pm, Saturdays and Sundays at 3pm

Ryan Cunningham (Ensemble), Joe Hanrahan (Thaliard/Philemon/Bolt/Ensemble), Dwight House (Ensemble), Linda Kennedy* (Lychorida/Cerimon/Ensemble), Erik Kilpatrick* (Leonine/Ensemble), Ka’ramuu Kush (Pericles), Patrese D. McClain* (Thaisa/Emsemble), Robert Mitchell (Gower/Cleon), Rich Pisarkiewicz* (Antiochus/Simonidies/Pander/Ensemble), Terell Randall (Ensemble), Chauncy Thomas* (Helicanus/Ensemble), Susie Wall* (Dionyza/Bawd/Ensemble), Sharisa Whatley* (Daughter/Marina/Ensemble) and Theo Wilson (Lysimachus/Ensemble).
* Member Actors' Equity Association

Scenic design by Dunsai Dai; costume design by Sarita Fellows; lighting design by Mark Varns; sound design by Robin Weatherall; projection design by Thomas Byrd; dramaturg/text coach, Chris Anthony; stage manager, Tracy D. Holliway-Wiggins.

Saturday, January 8, 2011

THE FALL OF HEAVEN • The Repertory Theatre of St. Louis

This is the first play by best-selling novelist Walter Mosley, best known for his mystery novels, including "Devil in a Blue Dress", "Six Easy Pieces" and "Fortunate Son", among many others.  This play is adapted from his novel, "The Tempest Tales".

Tempest Landry (Bryan Terrell Clark) is a guy who's… well… not perfect.  As he's going back and forth between his wife and his girlfriend on the phone, he's shot and killed on a Harlem sidewalk by police when they think he has a gun.  He finds himself at the gates of heaven, pleading his case to St. Peter.  Tempest insists that his petty transgressions were done for the greater good and that he doesn't deserve to be cast down into the pits of hell.  He refuses to go.  That doesn't sit well with St. Peter, and also seems an unexpected precedent.  Being the first soul to challenge the sentence of heaven, Tempest slips through a loophole and finds himself back in Harlem, with an accounting angel, Joshua Angel (Corey Allen), whose job it is to convince Tempest of his past wrongdoings and accept St. Peter's judgement.
Bryan Terrell Clark (Tempest Landry).
Repertory Theatre of St. Louis © Photo by Jerry Naunheim Jr.
Things get complicated when Angel starts to settle into his human form, discovers that keeping a day job is not a piece of cake, and finds himself falling in love with one of Tempest's girlfriends, Branwyn (Kenya Brome).  Angel has his own struggles discovering that sins aren't necessarily black and white once you're inserted into the world as a black man in a human body in Harlem, facing everyday temptations and dilemmas.

There's a lot riding on the shoulders of Tempest.  If he maintains his refusal of St. Peter's judgement, heaven will collapse, and allow the devil to reign supreme.  Later in the play we're introduced to Satan himself, Basil Bob (Jeffrey C. Hawkins), decked out in a snazzy black suit and red tie.  He's also vying for Tempest's loyalty.  Never enough minions for the devil, ya know.  Even though the second act drags a little, I found it to be a refreshing presentation with a modern urban voice that re-examines the age-old predicament of the line between good and evil, and taking your fate into your own hands.
Kenya Brome (Branwyn Weeks)
and Corey Allen (Joshua Angel).
Repertory Theatre of St. Louis
© Photo by Jerry Naunheim Jr.
Robert Mark Morgan's Harlem street set was beautiful in combination with Michael Lincoln's lighting design.  Against this backdrop, platforms were smoothly tracked in and out representing a bar, bedrooms, a restaurant, and a trap door office.  Rusty Wandall's sound design was also seamless, every now and then accentuating Joshua and Bob's voice, just to remind you that these aren't mortals we're dealing with here.  The costumes informed the modern characters and under the direction of Seth Gordon, the performances across the board were strong.  It's very easy to root for Clark's Tempest, and you could see Allen's Angel wrestle with his responsibilities as the accounting angel, while having to walk in a mortal's shoes.  This play will be running at the Loretto-Hilton until the 30th.  Check it out!

Jeffrey C. Hawkins (Basil Bob), Corey Allen (Joshua Angel)
and Bryan Terrell Clark (Tempest Landry).
Repertory Theatre of St. Louis © Photo by Jerry Naunheim Jr.

Written by Walter Mosley
Directed by Seth Gordon
Loretto-Hilton Center, 130 Edgar Road
through January 30 | tickets: $15 - $70
Performances Tuesdays at 7pm, Wednesday to Friday at 8pm, selected Wednesdays at 1:30pm, Saturdays at 5pm, selected Saturdays at 9pm, Sundays at 2pm, selected Sundays at 7pm

Corey Allen (Joshua Angel), Kenya Brome (Branwyn Weeks), Bryan Terrell Clark (Tempest Landry), Jeffrey C. Hawkins (Basil Bob/Saint Peter/Mr. Chin/Mr. Akbar), Rachel Leslie (Alfreda/Darlene/Ensemble), Jerome Lowe (Ensemble) and Borris York (Ensemble).

Set design by Robert Mark Morgan; costume design by Myrna Colley-Lee; lighting design by Michael Lincoln; sound design by Rusty Wandall; stage manager, Champe Leary; assistant stage manager, Tony Dearing.


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