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Sunday, May 15, 2016

THE TWO CHARACTER PLAY • The Midnight Company

“The Two Character Play,” one of the many offerings during this year’s inaugural Tennessee Williams Festival St. Louis, is one of Williams’s later works, and performed in The Learning Center on Westminster Place, formerly known as the Wednesday Club. In the late 1930’s, the Wednesday Club's stage was the home of the Mummers of St. Louis theatre troupe, where a few of Tennessee’s early plays were debuted. It’s poignantly fitting that this play is performed in this creaky old house, where Williams found his beginnings.

Felice (Joe Hanrahan) and Clare (Michelle Hand) are siblings and actors, preparing to perform one of Felice’s own works to, possibly, an audience, in a run-down theatre in a nowhere town. Abandoned by their company, with no home except for the theatre, it doesn’t take long to see signs of damage between these two. Their ex-colleagues called them “insane.” After Felice goes through what seems like a long-practiced ritual of preparing his sister for a performance, the play-within-the-play begins -- about a dysfunctional brother and sister, no less. In the play’s play, the siblings are survivors of a shared childhood trauma that leaves them constantly on a precipice, where the prospect of just leaving their house brings on a burden of apprehension. In some of the humorous moments that are sprinkled throughout, their characters’ lines are forgotten and improvised, and aside from a southern dialect put on for the “performance,” the line between the characters’ plight and the actors’ realities is razor thin to the point of invisibility, with looming shadows left by a confined, stress, drug, and alcohol-addled existence.

Thursday, May 5, 2016

TRASH MACBETH • ERA

Equally Represented Arts is back with another enveloping, innovative production that places Shakespeare’s Macbeth at its spine, and includes excerpts ranging from Emily Post's Etiquette and 1950's advertisements, to Sun Tzu's The Art of War, with a little Book of Revelation thrown in for good measure. Whaaa?! And you know what else? It works. Created by an ensemble of theatre artists and accented and complemented by ERA’s trademark movement and choreography, these dissimilar texts are carefully and shrewdly woven through one of Shakespeare’s most well-known tragedies, resulting in a surprising harmony between the Bard’s story of murderous ambition, and our modern, media-soaked, consumer-driven world of consumption. It’s also quite a blast.

Welcome to the Macbeth’s for a dinner party that you won’t soon forget.

Saturday, April 30, 2016

IVANOV • St. Louis Actors' Studio

Nikolai Ivanov, and most of his countrymen, are suffering from numbing boredom. But Ivanov is not only bored as hell, he’s irascible. He disparages just about everyone who crosses his path, he neglects his sick wife in favor of socializing with friends, and he’s up to his nose in debt. St. Louis Actors' Studio closes its ninth season with an excellent production of Anton Chekhov’s first full-length play, written in 1887 and set against the cold, rural Russian countryside. With dreary outlooks spiked with humorous satire, it feels like a prototype for his trademark themes, and there’s a visible gun. So you know what that means.

Drew Battles plays Ivanov with a palpable fatigue -- languishing under a weight of self loathing he can’t figure out. His depression never seems to damper the mood of Borkin though. He manages Ivanov’s mostly barren farms, always coming up with schemes to make money, and Dave Wassilak lends a comically inflated confidence to every plan he hatches. Adding to the humor is Ivanov’s penniless Uncle, Count Shabelsky (Bobby Miller), who lives with Ivanov. In between his grumbling, he’s just about the only one who shows Anna (Julie Layton), Ivanov’s wife of five years, withering from tuberculosis, any compassion. Anna’s doctor, Lvov (Reginald Pierre), is also an Anna advocate. Lvov is disgusted by Ivanov’s treatment of her and exasperated at the very mention of him. While Lvov insists that he is an honest man, Pierre’s cagey portrayal keeps you guessing at his motives, and his patient, keenly portrayed by Layton, is affectingly tragic.

Tuesday, April 19, 2016

BRIEFS: A Festival of Short LGBTQ Plays • That Uppity Theatre Company and Vital VOICE Magazine

That Uppity Theatre Company and Vital VOICE were back again last weekend for "Briefs: A Festival of Short LGBTQ plays,” presenting eight works selected from over 200 nation-wide submissions. Presented by Pearl Vodka and celebrating its 5-year anniversary, the festival’s cornerstone of diverse subject matter has attracted a wider net of St. Louis talent and also widening LGBTQ and racial diversity. The plays were varied in tone, but there was a thread of family, love and acceptance that seemed to run underneath many. Max Friedman, playwright of “The Grind,” directed by Gad Guterman, was the winner of this years’ second annual Ken Haller Playwriting Competition for LGBTQ and Allied Youth.

Friday, April 8, 2016

HEDWIG AND THE ANGRY INCH • Stray Dog Theatre

Stray Dog’s latest production has every bit the vibe of a rock concert when you walk into the theatre. The band, typically secluded somewhere behind the set, is front and center, warming up before the show. Rob Lippert’s scenic design features TV screens and speakers galore. The bar, usually out in the lobby, is in the house on the floor against the stage, with a pair of Stray Dog alums (the night I went) serving as bartenders. So grab a drink and buckle up -- you’re about to be entertained by the song stylings of Hedwig, a genderqueer rock singer from East Germany, and her band, The Angry Inch.

Hedwig (Michael Baird) is in town for a St. Louis engagement, and during her roughly 90-minute show, we’ll hear about her younger years as Hansel Schmidt, her travels, misadventures, heartbreaks and her surgically fucked-up sex change operation that leaves her with, what Hedwig has titled, an “angry inch” -- her band’s namesake. A cheeky, tortured and fiercely funny Baird is in full command of this diva, carrying the titular headliner on his shoulders, holding the audience, and making the most of John Cameron Mitchell’s improvisational book. At times full of cavorting swagger and at other times slowing heartbreak, Baird physically and vocally handles numbers like, "The Origin of Love,” "Wicked Little Town" and “Midnight Radio” assuredly.

Monday, April 4, 2016

OLD WICKED SONGS • New Jewish Theatre

Jon Marans' Pulitzer Prize-nominated play offers a lot of layers underneath a facade that seems, initially, predictable. Stephen Hoffman is a 25 year old piano prodigy who’s burned out, and though he’s a “superb technician,” he’s lost touch with his passion. He has traveled to Vienna, Austria to study accompaniment with a Professor Schiller, but learns, much to his irritation, that he must first spend three months with Professor Mashkan to study singing.

Why singing? Well, by Schiller’s reckoning, before sitting in front of those black and white keys, an accompanist has to experience the other side of the equation -- the singing part, for a broader understanding of that connection. As portrayed by Will Bonfiglio, Hoffman’s a tense, walled-off young man from the minute he steps into Josef Mashkan’s studio -- flinching at the threat of a hand on his shoulder and impervious to Mashkan’s natural charm. Jerry Vogel is perfectly cast as Professor Mashkan, who feels deeply, musically and otherwise. Intimate, grumbly and funny, with an anti-jewish veneer he displays like a shield, he tries to urge Hoffman to tap into the emotional side of the music -- a probing that peels away the layers of both characters.

Sunday, March 27, 2016

MOLLY’S HAMMER • The Repertory Theatre of St. Louis (Studio Theatre)

In the 1980’s, the threat of nuclear war hung heavy over the country like radioactive ash. That threat, and Liane Ellison Norman's book, Hammer of Justice, inspired Tammy Ryan’s play, receiving its world premiere, thanks to the Rep’s Ignite! New Play Festival last season.

The story follows Molly Rush, a member of a group of peace advocates called the Plowshares Eight. In 1980, they entered the General Electric Re-entry Division in Pennsylvania, damaged nuclear nose cones and drenched blueprints and documents in blood. Ryan’s play focuses in on Molly Rush, a mother of six whose faith drives her and others to do what they feel is a moral responsibility, and Nancy Bell beautifully holds the center as Molly.

Tuesday, March 22, 2016

Fourth Annual St. Louis Theater Circle Awards • Skip Viragh Center for the Arts

Another St. Louis Theater Circle Awards ceremony has come and gone, and the award recipients, as well as the impressive bevy of nominees, are a testament to the talent we’re lucky enough to have in “the Lou.” Here’s the list of the nominees, with the award recipients in red. Congrats to all! And a huge thanks to those who attended, watched at home, and came out to see the enormous variety of theatre on offer each and every year.
Yay, theatre!!!
(If you missed it, you can stream the show courtesy of HEC-TV.)


Outstanding Ensemble in a Comedy
Bad Jews, New Jewish Theatre
Mr. Burns: A Post-Electric Play, R-S Theatrics
The 39 Steps, Slightly Askew Theatre Ensemble
Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Wild Oats, St. Louis Shakespeare

Saturday, March 12, 2016

AMERICAN IDIOT • New Line Theatre

The fury that simmers within generations of young adults is nothing new, but New Line’s current production of Green Day’s American Idiot, adapted from the band’s 2004 concept album of the same name, is painted in sharp-edged, pop-punk strokes that strike a familiar chord, particularly now. With the country in the midst of a divisive political season, Billie Joe Armstrong and Michael Mayer’s rock opera about coming of age in a post 9/11 world of uncertainty, taps into an angry restlessness that’s as palpable today as it’s ever been.

The show’s opening sets the tone with an eruption of its title number, “American Idiot.” Three disillusioned twenty-somethings, Johnny (Evan Fornachon), Tunny (Frederick Rice) and Will (Brendan Ochs), are sick of the monotony of suburbia, and plan to head off to New York City, answering a call in search of... something. Anything. As long as it’s away from where they are now.

Thursday, February 18, 2016

I'LL BE BACK BEFORE MIDNIGHT • Stray Dog Theatre

Stray Dog’s latest production, a two-act play written in 1979 by Peter Colley, has a familiar assortment of promising, hair-raising set-ups. The Sanderson couple, Greg and Jan (Jeff Kargus and Angela Bubash), have retreated to the country so Jan can get a breather from the world after a recent breakdown. Greg seems attentive enough to his wife, who is a little unnerved by the creepiness of the run-down farmhouse where they’ll be staying. A neighboring farmer, George (Mark Abels), full of folksy charm, hearty chuckles, and a supply of ominous stories about vengeful ghosts who supposedly plague the house, comes by every now and then for a spot of whiskey and conversation, but his stories don’t do anything for Jan’s state of mind. To top things off, Jan’s unease is heightened by an imminent visit from Greg’s sister Laura (Sarajane Alverson). Laura shares a tight bond with her brother, but she and Jan have never gotten along.

Friday, February 12, 2016

UNDERNEATH THE LINTEL • New Jewish Theatre

A library book that’s 113 years overdue sets the action off in Glen Berger’s 2001, one-actor play in NJT’s latest production. Our protagonist, a Dutch Librarian, is determined to hunt down whomever checked out a Baedeker's travel guide in 1873. WAY overdue. A trail of clues propels her (often portrayed as a ‘him’) out of her strait-laced job and off on an existential quest.

Against Kyra Bishop’s spare set with a blackboard, slide projector and screen, and an old suitcase, our Librarian (Glynis Bell), a resolute lover of order who wears her date stamper around her neck like a piece of jewelry, begins a presentation that she’s called, “An Impressive Presentation of Lovely Evidences.” Within the pages of this long overdue travel guide she finds in the overnight slot, the Librarian discovers a laundry ticket from 1913 that willfully leads her to London. Taking a leave from her job, she lingers and follows hints, girded with a gut-level belief that she may have stumbled across evidence of The Wandering Jew -- a mythical figure from medieval Christian folklore. It concerns a man doomed to roam the earth until the second coming -- punishment for his reproach of Jesus on the way to his crucifixion.

Friday, January 29, 2016

Fourth Annual St. Louis Theater Circle Awards Nominations

The nominations are out! Here's the full list of this year's fourth annual St. Louis Theater Circle Awards nominees. The ceremony will be on Monday, March 21st at a new location -- the Skip Viragh Center for the Arts at Chaminade College Preparatory School. The ceremony starts at 7pm, and the buffet begins at 5:30. If you're a fan of St. Louis theatre (and who isn’t, really?), consider picking up a ticket or two to the show! Tickets can be reserved here. If you can't make it, the ceremony will once again be televised on HEC-TV and streamed on the HEC web site.

Congratulations to all of the nominees!

Outstanding Ensemble in a Comedy
Bad Jews, New Jewish Theatre
Mr. Burns: A Post-Electric Play, R-S Theatrics
The 39 Steps, Slightly Askew Theatre Ensemble
Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Wild Oats, St. Louis Shakespeare

Friday, January 15, 2016

THE LION IN WINTER • The Repertory Theatre of St. Louis

If you think the recent holidays were stressful for your family, trust me -- it’s nothing compared to the rancor going on in James Goldman’s 1966 dramatic comedy, “The Lion in Winter.” Historic tidbits inspired the playwright, a lover of history, to create this fictionalized account of King Henry II of England and his medieval Royal Family’s contentious battle for the throne.

It’s 1183, and the aging Henry (Jeffrey King) is holding the Royal Christmas Court at his Chinon Castle in France. Henry’s limp from a bad leg is overcome by the audacious but charming nature that King gives the character. Carol Schultz is, like Henry, aging, but sharp as a tack and sentimental as a vigilant Eleanor of Aquitaine, Henry’s wife, who is allowed a discharge from her imprisonment (it’s the holidays) to partake in some spirited and savage sparring about which of their three sons should take the crown.

Monday, December 14, 2015

DEVIL BOYS FROM BEYOND • Stray Dog Theatre

You won’t find any elves or sugary confections in Stray Dog Theatre’s traditionally, non-traditional holiday show. What you will find is Buddy Thomas and Kenneth Elliott’s camp-tacular, 1950’s retro-styled close encounters caper featuring a tightly knit group of actors, sly creative contributions, and a welcomed getaway if you’re already sick of the commercial holiday season. One glance at that artwork over there to the left, and you’ll get what I mean.

It’s 1957, and there’s some weird stuff going on in Lizard Lick, Florida. Florence Wexler fills us in on all of the details at the start -- about how her husband disappeared after colorful lights appeared in the sky, and an unidentified flying object crashed into the shed. Florence is played splendidly by Michael Juncal, who's great in drag, and sports one of the most delicious Southern drawls I’ve ever heard. This incident has gotten the attention of some New York City newspaper slickers.

Sunday, December 6, 2015

ANIMALS OUT OF PAPER • R-S Theatrics

Playwright Rajiv Joseph’s 2008 drama places a delicate art at its center. Origami, with its precise execution of intricate folds, makes a fitting prism to look through at three people, suffering through fragile times, who hold the art dear -- whether through hard work or natural ability, and as a method of creativity, or escape.

When Ilana (Teresa Doggett) hesitantly opens the door to let in Andy (Andrew Kuhlman), he’s soaking wet from the pouring rain outside, and a little starstruck and giddy, meeting a fellow origami artist -- and Ilana is one of the best. But because of her two month old divorce and her beloved dog running off, she’s in no mood for company, and hasn’t felt any passion for folding paper in awhile, though her studio where she now lives is cluttered with all kinds of paper -- origami paper, newspapers, and Chinese takeout boxes. Andy, a high school calculus teacher, is there on official business as the treasurer for the American Origami organization. He’s the kind of guy who literally counts his blessings, writing them down in a little notebook with listings that now number up to the thousands. Ilana’s in there more than a couple of times, which she discovers when Andy leaves his book behind and Ilana takes it up as her latest reading material.