By Lynn Venhaus Managing Editor A brilliantly staged and acted “District Merchants” raises timely questions on oppression in a modern reworking of Shakespeare’s 420-year-old “Merchant of Venice.”

Playwright Aaron Posner’s 2016 comedy-drama tweaks the characters,
and sets them in the post-Civil War reconstruction era of 1870, in the nation’s
burgeoning capital, Washington D.C. Scenes also take place in Belmont, Mass.

It was a time of transition – out of ruins came renewal. But
it wasn’t fast or smooth. Posner has us confront the fact that old habits die
hard, change isn’t easy, and our tribes continue to define us, so is all the
uneasy historical issues and disastrous conflicts really in our past? The
clashes could be viewed as somewhat contemporary.

In this New Jewish Theatre production, butting heads are a Jewish immigrant moneylender, Shylock, and black businessman Antoine, shrewdly played by Gary Wayne Barker and J. Samuel Davis respectively, in skillfully calibrated performances.

Antoine has borrowed money from Shylock, but because of a
series of events not his doing, must default. Will he be required to hand over
a “pound of flesh,” as demanded by the loaner? A trial will ensue, but there
will be fireworks in and out of the courtroom regarding power, race, position,
family and loyalty.

The incredibly dynamic duo of Barker and Davis, longtime
local mainstays, spars so convincingly and with such verve that you hang on to
every word and nuance. Their timing is so impeccable that the audience broke
into applause after a couple explosive scenes.

Their triumphant pairing is potent – arguably career best
— but the supporting characters, involved in several thorny romantic subplots,
are exceptional as well.

The noteworthy ensemble has created memorable characters
that also mesh as a unit – even with the conflicts. They project a vibrancy,
with much thought into their role’s development.

Courtney Bailey Parker and Rae Davis. Photo by Eric WoolseySteadfast Courtney Bailey Parker is a strong Portia, who
dresses like a man to audit law classes at Harvard and is striving to define
her role as a smart woman in 19th century America.

She pairs well with love interest Benjamin, a black man
passing for white, and their courtship has a larger context. Rob White is solid
as an agent of change.

Standing out is Rae Davis as Portia’s servant Nessa, and she has stood out in two other plays she was in last year (“Cold,” “The Last Days of Judas Iscariot”), her first in regional St. Louis theater. She has a delightful way with dialogue, as does the sublime Karl Hawkins, who is dandy as Shylock’s servant Lancelot.

Karl Hawkins as Lancelot in “District Merchants.” Photo by Eric WoolseyHawkins charms in every scene, as does Paul Edwards as
Finn, an Irish produce salesman who takes a shine to Shylock’s sheltered
daughter Jessica. At first, his brogue was wobbly, but he grew better, and his
winning personality was enough to endear.

As delicate Jessica who transforms with determination, Alicen
Moser understands the frustration of being a powerful and overprotective father’s
only child. When she rebels, she does it in a big way that nearly destroys her
father.
The relationships are complicated, but this cast pulsates under Jacqueline
Thompson’s perceptive direction.

Thompson has directed this show with such vigor that each
character has a distinct understanding of the material, and with her innovative
touches, has achieved a masterpiece.
She has astutely woven each character into this tapestry, and moves them around
the stage, the striking multi-level set by David Blake, and into the audience
with such purpose —  a flow that keeps
us riveted.

It does not matter if you have never seen Shakespeare’s
most controversial play. “District Merchants” flips it to assure that we see
the maligned, marginal groups in a different perspective – people of faith, of
color, of origin. We look at mercy in a fresh way.

Posner’s unflinching dialogue about stereotypes is tough
stuff, pitting Jews against gentiles, blacks vs. whites, and Irish vs. other
ethnic groups.

Billed as an “uneasy comedy,” you wouldn’t ever regard such
thought-provoking material that tackles racism, bigotry and xenophobia as a
laugh-riot, but there are surprising comic bits that struck a chord with the
audience, a spoonful of sugar if you will. After all, Shakespeare did consider
“Merchant of Venice” one of his comedies.

But mostly, the humor derives from the spoken thoughts and
feelings of the characters, who want basically what everyone wants and how they
tell their story. Because of the caliber of this cast, we are quickly drawn
into this period, and become emotionally invested as well.

Posner’s work appears to be a winner with New Jewish
Theatre. “Life Sucks!,” his comical adaptation of Chekhov’s “Uncle Vanya,” was
a delightful presentation last spring, and nominated for multiple St. Louis
Theatre Circle Awards (coming up March 25).

This must-see production has raised the bar – and will be a
measuring stick for this year’s offerings, especially with such a harmonious
ensemble.

A work of stunning achievement all the way around – with
beautifully accented lighting by Sean Savoie, richly detailed period costumes
by Felia Davenport and sound design by Zoe Sullivan.

 “District Merchants” is presented by New Jewish Theatre from Jan. 24 – Feb. 10 on Wednesday, Thursday, Saturday and Sunday at the Wool Theatre at the Jewish Community Center, Creve Coeur. For tickets, visit www.newjewishtheatre.org

Ben Nordstrom and Kari Ely will play opposite one another in “Into the Breeches!,” the headlining production of Shakespeare Festival St. Louis’ new program titled, In the Works, set for Oct. 28 through Nov. 24, at the Grandel Theatre. Written by George Brant and directed by Nancy Bell, the month-long, ticketed production is the culmination of the Festival’s 2018 season.
Kari ElyIn addition to “Into the Breeches!,” In the Works will include a Saturday matinee family show, “A Most Outrageous Fit of Madness,” inspired by the mistaken identity hijinks of “The Comedy of Errors” and written by Bell. Also included are two staged readings of “The Thousand Natural Shocks” by playwright Michael Sáenz. Deep-dive talkbacks and art-making workshops for kids will round out the events.
For a detailed In the Works schedule and to order tickets, please visit www.sfstl.com/in-the-works, or call Metrotix at 314-534-1111. Student tickets to all performances are free with an ID but it is recommended they be reserved in advance. A limited number of “Pay What You Can Nights” are scheduled for the “Breeches!” performances on Nov. 7 and 14 and should also be reserved in advance. Military discounts are available as well.
Ben Nordstrom“One of the things that excited me most about joining the Festival was knowing that it already had plans to make this foray into producing new work alongside the classics of Shakespeare,” said Tom Ridgely, executive producer of the Festival. “These plays each capture something beautifully distinct about our current American moment. Like Shakespeare, they show us ourselves, in a way we’ve never seen before, and I couldn’t be more thrilled to share them with St. Louis.”
“Into the Breeches!” is a comedy about a fictitious theater group. It’s 1942, and with the men away at war, the director’s wife sets out to produce an all-female version of “Henry V.” She assembles an unexpected cast that showcases how art and comedy can come together in even the darkest times. The play had its critically-acclaimed world premiere in January 2018 at the Tony-winning Trinity Repertory Company. This will be its first production in St. Louis. There will be 16 performances of “Breeches!” throughout the month-long run. Brant, the play’s author, also wrote “Grounded,” which starred Anne Hathaway during its New York run.
Nordstrom, whose work includes numerous appearances at the Repertory Theatre, the Muny, New Jewish, Stages, among others, also appeared in two plays written by Bell on behalf of the Festival, and in collaboration with the St. Louis Symphony in 2016. Ely, who previously appeared in the Festival’s main stage productions of “Henry IV,” “Henry V,” and “Antony and Cleopatra,” has worked for virtually every professional theater company in St. Louis. In addition to Nordstrom and Ely, the “Breeches!” cast will include Gary Wayne Barker, Michelle Hand, Katy Keating, Mary McNulty, Laura Resinger and Jacqueline Thompson.
Gary Wayne Baker will direct the family play,  “A Most Outrageous Fit of Madness,” Bell’s story of resilience, identity and family. Cast members include Erika Flowers, Karl Hawkins, Michael James Reed and Jen Sinnen. “Outrageous” matinee performances are scheduled at 4 p.m. on Saturdays (Nov. 10, 17, 24).
“The Thousand Natural Shocks” tells the story of a high school student who explores his identity through experiences at a private military academy. The title character is encouraged and challenged by his role in the school’s production of “Hamlet.” Sáenz was commissioned by the Festival to adapt the story from his book of the same title. The story draws inspiration from the It Gets Better Project, which leads a global movement to empower LGBTQ youth worldwide. Webster Conservatory alumnus Kern McFadden will direct.  Two staged readings are scheduled at 10 a.m. on Wednesday and Thursday, Nov. 7-8.
Set designers Margery and Peter Spack and costume designer Michele Siler will serve as creative team members for both “Into the Breeches!” and “A Most Outrageous Fit of Madness.”
Generous support for In the Works is provided by Mont and Karen Levy. Student tickets for 18 and under are free thanks to support from PNC Arts Alive.
About Playwright George Brant:
George BrantGeorge Brant was born in Park Ridge, Illinois and studied acting at Northwestern before turning to writing for his own zeppo theater company in Chicago during the ‘90s. He now lives in Cleveland with his wife, Laura Kepley, the Artistic Director of Cleveland Play House.

His 2012 play, Grounded, about a female fighter pilot reassigned to the Air Force’s drone unit, played New York’s Public Theater in a production starring Oscar winner Anne Hathaway and directed by Oscar, Tony and Emmy winner Julie Taymor. That production won three Lortel Awards for excellence Off-Broadway and has gone on to over 125 productions in 18 countries and a dozen different languages.
Still when Into the Breeches! premiered earlier this year at the Tony-winning Trinity Rep in Rhode Island, the Providence Journal called it, out of Brant’s 20-plus plays, “his best work by far” and “a gem of a play, one of the sweetest nights of theater you’re likely to see”.
The Shakespeare Festival is proud to present the Midwest premiere of this charming, big-hearted and provocative new play by one of America’s most acclaimed and original new voices.

About Shakespeare Festival St. Louis
Since its inception in 2001, Shakespeare Festival St. Louis has surpassed the one million mark in attendance through its work In the Schools, In the Streets and In the Park with more than 800,00 people attending the free main stage productions at Shakespeare Glen in Forest Park. The organization has reached an additional 300,000 students In the Schools through its educational programming. In 2010, the Festival launched SHAKE 38, a marathon participatory presentation of Shakespeare’s entire 38-play canon community wide. In 2012, the Festival shut down its first street, Cherokee, to present a community-based play In the Streets. Leadership support for Shakespeare Festival St. Louis’ 2018 season is provided by the Whitaker Foundation. The Festival is also funded in part by the National Endowment for the Arts, the Missouri Arts Council, the Regional Arts Commission, and the Arts & Education Council of Greater St. Louis. For more information, please visit www.sfstl.com, or call 314-531-9800.