Prism Theatre Company announces the playwrights, directors, and cast of Prism’s first annual Spotlight On festival of new works, sharing the stories of women playwrights throughout the bi-state area. Each night of staged readings will be followed by a talkback with the actors, playwrights, and Prism creative team.
ACADEME.compassion by Dr. Laura Perkins
Friday, August 13th, 2021
Directed by Wendy Greenwood
A whimsical romp inside the final test of graduate school: an oral defense of the written exams. The premise of this academic tradition seems simple enough. Yet, three faculty with wildly different motivations complicate what should be a pro-forma ritual. In comps, an epic battle ensues; passions flare, emotions erupt, and manipulative moves threaten the student’s chances for success.
Kelly Howe as Dr. Stepoloni
Eleanor Humphrey as Student
Phil Leveling as Dr. Trout
Kay Love as Dr. Fenmore
See the Dove by Laurie McConnell
Friday, August 13th, 2021
Directed by Rayme Cornell
When a friendless white woman encounters a homeless Black man in a city park, their contentious first meeting morphs into mutually satisfying verbal skirmishes as they battle prejudice, loneliness, Sarin, and Spanx to find friendship and love among pigeons and doves.
Starring: Eleanor Humphrey as Ava/Pidge
Don McClendon as Jay
Kelly Schnider as Evelyn
Stay Awhile by Dana Hall
Saturday, August 14th, 2021
Directed by Wendy Greenwood
Samantha has been concerned about her mother, Janice, since her father’s passing. This play deals with complex grief and how it impacts the entire family. It illustrates the changing landscape of mother/daughter relationships. It’s a window into the world most families do not talk about.
Carmen Garcia as Janice
Kelly Howe as Samantha
Bandera, Texas by Lisa Dellagiarino Feriend
Saturday, August 14th, 2021
Directed by Trish Brown
A dramedy about marriage, motherhood, and the women who came before us and paved our way, “Bandera, Texas” follows Liz, a native New Yorker forced to relocate to the Texas Hill Country for her husband’s job. She is visited by her long-dead grandmothers, who help her adapt to her new life and remind her that an uprooted woman can grow wherever she is replanted when she knows who she is and carries the people and places she loves inside her.
Carmen Garcia as Genevieve
Sam Hayes as Liz
Kay Love as Mary
Jeffrey David Thomas as Dave & 11 others
Tickets are $10 minimum donation and can be pre-purchased through the Prism website.
The mission of St. Louis’ newest professional performing arts organization, Prism Theatre Company, is to promote the work of women and emerging artists, on stage and off, through the lens of theatre for the new world. We produce both new and classic works in an atmosphere of inclusivity, where artists from all walks of life can come together to explore our common humanity. Prism is creative collaboration, without the cliques.
Prism Theatre Company is the brainchild of Trish Brown and Joy Addler, St. Louis-based theatre-makers and longtime collaborators.
Trish Brown, a professional director, actress, and theatre educator, has directed regionally, as well as in Canada. She is a proud associate member of SDC, the Stage Directors and Choreographers Society. She holds an MFA in Directing from the Chicago College of Performing Arts at Roosevelt University and worked professionally in Chicago for a number of years before returning to the St. Louis area. A process-based, ensemble director, Trish is trained in and utilizes a number of acting methods in her work while specializing in the Michael Chekhov technique. She is a founding member of The Moving Dock Theatre Company, a Chicago-based company dedicated to the actor’s creative process through the use of the Chekhov technique. Theatre education is also a passion of Trish’s and she has taught in regional arts programs such as COCA in St. Louis and Hinsdale Center for the Arts in Chicago. She is now a Professor of Theatre at Principia College. Her educational productions have won numerous recognitions, including two Best Production for the State of Illinois awards from the Kennedy Center American College Theatre Festival. Trish also loves directing film and coaching actors for stage and screen.
Joy Addler is a St. Louis area stage manager, company manager, and nonprofit professional. A proud graduate of The Conservatory of Theatre Arts at Webster University, Joy has a BFA in Stage Management and is currently pursuing her Master’s degree in Nonprofit Management. She is also a member of the Actor’s Equity Association. Currently, Joy works as the Performing Arts Manager for Variety the Children’s Charity, overseeing their inclusive chorus and dance programs throughout the year, as well as serving as the Company Manager and Production Stage Manager for their annual Variety Theatre production. In addition to her work at Variety, Joy works as a freelance AEA stage manager throughout the St. Louis area.
Addler and Brown began work on Prism Theatre Company over 18 months ago in a pre-pandemic world. The company was a long-time dream of these partners who wanted to provide a home for artists from all walks of life to shine, especially women. “As members of the St. Louis theatre community, and in talking to our friends in the community, we noticed a gap in the opportunities for women to really be at the forefront,” says Joy Addler, Prism’s Managing Director. “We want to provide a safe space for the voices of women to really shine and take center stage.” Though the company’s mission puts women at the forefront, men are also an important part of Prism’s work. “We love all artists and welcome men into Prism, as actors, technicians, directors, designers, and Board members. Nothing at Prism is exclusionary,” says Trish Brown, Prism’s Artistic Director.
Prism is also designed as a home for new and emerging artists. “Because I’m passionate about theatre education, fostering new and emerging artists was an important aspect of Prism,” says Brown. “I remember graduating from college with my BA in Theatre and wondering, ‘OK, what now’? It was difficult to break into the theatre scene in a meaningful way. Few companies were open to mentoring young artists at that time. We want Prism Theatre Company to be a place where emerging artists can work with kind, collaborative, seasoned professionals so they can learn, grow, build their resumes, and make connections.”
Theatre artists who are interested in joining Prism’s Board of Directors or Company may contact Prism at [email protected]. Prism invites actors to like us on Facebook for access to audition details for future productions.
ABOUT PRISM THEATRE COMPANY
Prism Theatre Company seeks to champion the voices and stories of women from all walks of life, giving emerging artists a platform to showcase their work with seasoned professionals. We produce both new and classic works in an atmosphere of inclusivity, where artists from all walks of life can come together to explore our common humanity. Prism is creative collaboration, without the cliques.
Greetings! This is a people, places and events column about local and
national showbiz items that will appear regularly. Feel free to message me with
Today we provide some ways to fill your
quarantine days and nights, a list of resources for artists, updates on the
Theatre Proms and more.
MRS. AMERICA: St. Louis anti-feminist icon Phyllis Schlafly was an Alton, Ill. housewife when she gained national attention in conservative politics, fighting the Equal Rights Amendment and founding the Eagle Forum in 1972. She’s the subject of a nine-part miniseries, “Mrs. America,” which starts Wednesday, April 15 on Hulu. The first three episodes: “Phyllis,” “Gloria” and “Shirley” will air then, then each week through May 27, depicting the battles between Schlafly and the leaders of the women’s movement in the 1970s.
The cast includes Cate Blanchett as Schlafly, Tracey Ullman as Betty Friedan, Rose Byrne as Gloria Steinem, Margo Martindale as Bella Abzug and Uzo Aduba as Shirley Chisholm.
Fun fact: I saw Schlafly debate Betty Friedan on the ERA during college. Phyllis came up to the podium, looking like Betty Crocker, and said: “How many women want to get drafted?” A guy in the audience yelled out: “How many men do?” When Betty came up, in a mumu, she clearly had the crowd on her side. Illinois State University, 1973.
*** THEATER PROMS: Springtime is awards season for the theater community, but this year, the mandatory Shelter-in-Place doesn’t allow gatherings of 10 or more. Therefore, events have been cancelled, rescheduled and rebooted
Often referred to as “Theater Prom,” the eighth annual St. Louis Theater Circle Awards ceremony was to take place on March 30 at the Loretto-Hilton Center on the campus of Webster University, but the event had to be cancelled. Local theater critics still honored outstanding regional professional theater.
Instead, HEC provided a streamcast of the awards on
Tuesday, April 7, at 7 p.m. on their Facebook page. The event was downscaled
reading of the nominations and awards, but hey, it’s #TCA20. You can still see
it! Here is the YouTube link:
The theater critics recorded the nominations, and their voice-overs ran over photos. Then HEC announcer Rod Milam announced the winner. There were 34 categories to give awards in, which cover dramas, comedies and musicals. All in a half hour.
Many thanks to HEC Media, including Dennis Riggs, total pro announcer Rod Milam and ace producer Paul Langdon. Thanks to our theater buddy Andrea Torrence for the work on the graphics – the photos really made the virtual. event “pop.” I applaud your sharp professional skills and your devotion to local theater.
A special award was given to Ken and Nancy Kranzberg for their tremendous support and commitment to the arts. Where would St. Louis arts be without the Kranzbergs?
Congratulations to the winners AND the nominees, and
everyone who gave of their heart and soul to produce live regional professional
theater with such passion and panache in 2019.
It truly was a fantastic year, especially for drama, and
what a crowded field of talent among the 125 artists nominated and 51 shows
from 25 different companies.
It is a privilege to see such a variety of theater during
the year, and as a founding member of the St. Louis Theater Circle, it has been
a real joy these past eight years.
In due time, we’ll be back in darkened theaters watching
people create magic. We’ll get to hug and laugh again, and marvel at this thing
called art that connects us all.
Even virtually for one evening — that was a welcome respite
from the sad, terrifying and anxious daily news, wasn’t it, in what’s become
the norm in our current global pandemic. People really seemed to enjoy it,
lifted spirits – some casts had Zoom parties.
I look forward to seeing you all again, in the “After
In community theater, the Arts For Life board of directors
presents two awards events each year, the Best Performance Awards honor musical
theater and youth productions, and the Theatre Mask Awards honor straight
The fifth annual Theatre Mask Awards, which honors both dramas and comedies, was to take place at a brunch on Saturday, April 4, at The Atrium Center at Christian Hospital. However, it has been rescheduled for July 18.
The 21st annual Best Performance Awards is scheduled for Sunday, June 14, at 2 p.m. at the Skip Viragh Center for the Performing Arts at Chaminade. However, the AFL board of directors will decide shortly on whether the event will be moved. Stay tuned.
For more information and to see lists of nominations, visit
You can get tickets to both events for the special price of $40. Visit www.artsforlife.org for
more information and to see a complete list of nominees.
Emcees are Donna Northcott, a theater professor at Lindenwood University – St. Charles, for the TMAs, and local singer-actress Karen Fulks for the BPAs.
disclosure: I am a founding member of the St. Louis Theater Circle and I am on
the Board of Directors of Arts For Life).
HELP IS HERE: How can you help all the artists around the region and homebound folks around the region? During this unprecedented time of isolation, Stay-at-Home mandate, social distancing to #flattenthecurve, here are some resource links:
This fund will provide short term monetary relief to
employees and owners of independent bars, restaurants, and shops in the St.
Louis area affected by closures and other circumstances brought about by the
Broadway may be dark, but today you can be a light for the
Broadway Cares/Equity Fights AIDS launched the COVID-19
Emergency Assistance Fund to help those onstage, backstage and behind the
scenes during and after the coronavirus pandemic. Through your donation to this
special fund, administered by The Actors Fund, you can ensure entertainment
professionals get the health care, emergency financial assistance and
counseling they need.
THE SHOW MUST GO ON: OverDue Theatre Company had to cancel “My Fair Lady” this spring but has put together a Quarantine Concert for Facebook Live on Friday, April 17, at 7 p.m. Special guests include Kaitlyn Mayse, Lauren Molina and Nikki Snelson. Featuring Kimmie Kidd, Eleanor Humphrey and Kay Love, there are 17 performers from the OverDue family who will perform too.
SOME GOOD NEWS: You know him, you love him from “The Office,” the immortal Jim Halpern of the Jim and Pam office romance. Actor John Krasinski has started his own web series, “Some Good News,” and the first episode on March 29 was such a hit, he has produced two more, all dropping on Sunday nights. It’s both inspiring and distracting.
You can follow his page on Facebook for updates and a link
to submit good news.
*** CINEMA STL: Like everyone else, Cinema St. Louis has rescheduled some events. Here are the new dates/information: Classic French Film Festival: Working to move to late July/early August; St. Louis Science Fiction and Fantasy Short Film Festival: Moving from May 1 to hopefully this summer; QFest: Moving from mid-May to possibly July; Filmmaking camps: Camps slated for June and July will continue as scheduled for now; I Love Movies Trivia Night: Still scheduled for Friday, June 5, with backup dates of Friday, Aug. 28, or Friday, Sept. 4; St. Louis Filmmakers Showcase: This event is currently scheduled to go on as planned in July – deadline May 31; Golden Anniversaries: Films of 1970: The six-film fest is now slated for the following Saturday-Sundays: Aug. 22-23, Aug. 29-30, and Sept. 5-6 at the St. Louis Public Library’s Central Library; SLIFF: Hoping to go as scheduled in November.
*** TEAM LEGEND: About a year ago, singer-guitarist Joanna Serenko won the St. Louis Teen Talent Showcase, sponsored by the Fox Performing Arts Charitable Foundation. Now she’s a contestant on “The Voice.”
The poised and talented 2019 Kirkwood High School graduate had
a four-chair judges’ turn for her blind audition during Feb. 24 night’s season
premiere. She sang Amy Winehouse’s R&B rendition of The Beatles’ classic
“All My Loving,” and new judge Nick Jonas fought for her to be on his team.
Here’s her performance link:
The Battle Rounds began March 23, and Joanna was paired
with Roderick Chambers to sing Billie Eilish’s “When the Party’s Over.” Here is
Kelly Clarkson described their duet as “effortless and
beautiful and passionate,” and coach Nick called her a “flawless singer” but
picked Rod as the winner — then John Legend stole Joanna, so she advances to
the Knockout Rounds on Team Legend. EGOT Legend said she had a lot of “style
and grace” in her voice.
Both the Battle and Knockout Rounds were taped earlier, so
they aren’t affected by the virus shutdown. However, the live shows in May
might be, which follows the Knockout Rounds. Go Joanna! (Tune in April 13).
For the first show, a viewing party took place at the Marcus
Des Peres Cinema. Due to the pandemic, that can’t happen now. If it starts up again,
I’ll let you know.
She used to sing in the choir at Kirkwood’s United
Methodist Church and moved here from Cleveland in 2010.
AND THAT’S A WINNER: Sports commentator and hometowner Joe Buck is reaching out to sports fans, asking them to send videos so he can provide a “play-by-play” of what they’re doing while staying at home — perhaps dribbling in place? Just be careful what you send him.
*** HARRY POTTER INTERACTION: Want to escape to fantasy worlds during this global pandemic? “Harry Potter” author J.K. Rowling has launched a new website called Harry Potter at Home – a free magical resource to keep readers of all ages entertained while staying at home. In addition to the existing interactive features on WizardingWorld.com, the site creators have added new activity kits, “nifty magical craft videos,” quizzes, puzzles, and more. You can also listen to the first book on Audible for free or download and read it from a digital library.
*** AND HE SCORES! Congratulations to Tom Calhoun, one of the nice guys in local media and the St. Louis Blues announcer for 33 years, who was recognized with three honors by the St. Louis Sports Hall of Fame. He was recently inducted, presented with the President’s Choice Award and given a commemorative 1500th-game plaque at the fourth annual Illinois Enshrinement Dinner.
A veteran of KMOX, WIBV and other stations, he is currently an adjunct communications professor at Southwestern Illinois College and general manager of its campus radio station, Blue Storm. He has never missed a Blues game since 1987 — until the global pandemic sidelined the team and the NHL cancelled the season. (Just think: a year ago, on April 10, we won the first of the 16 games we needed to win in the Stanley Cup Playoffs).
Cutline: Pictured, left to right, Tom Calhoun, head of the St. Louis National Hockey League Off-Ice Crew Tom Morris and St. Louis Blues inspiration and “super-fan” Laila Anderson. Photo by Bill Greenblatt
APPLAUSE, APPLAUSE:The Black Rep was awarded the August Wilson American Century Cycle Award by Christopher Rawson of the Pittsburgh Gazette on its opening night of “Two Trains Running.”
In 2008, they were the third company in America to complete
the 10-play American Century cycle and are currently two-thirds of the way
through it for the second time. Each of the 10 plays are set in a different
decade of the 20th century.
Rawson, the newspaper’s senior
theater critic and an August Wilson House board member, made the presentation
Jan. 10. The award was established only recently, so presentations are being
made gradually to the 15 qualifying companies.
“August is still alive, first, in the people,
places and stories from what we call August Wilson’s Hill, and second, in the
theaters around the country that bring them to life. This award, presented
jointly by his hometown newspaper and his childhood home, celebrates the
conjunction of these two. It says that we are all connected in August’s work,
through our recognition of its rich humanity and spiritual passion,” he said.
Wilson’s widow, Constanza Romero Wilson, sent thanks to The Black Rep “for your ongoing support of his legacy and for continuing to tell the stories for many generations to come. You ‘belong to the band’!” The quotation comes from Wilson’s “Gem of the Ocean,” where “the band” refers to those who struggled to free black Americans from slavery and Jim Crow.
*** IN THE CREDITS: Meadow Nguy of O’Fallon, Ill., makes an appearance in the seventh episode of the new Amazon Series “Hunters” starring Al Pacino. She was seen in “Law and Order: SVU” last November, and has been on “Madam Secretary” and “The Blacklist.” She moved to New York after graduating from Indiana University with a degree in musical theater. She appeared on stages in St. Louis, including the 2012 “Spring Awakening” at Stray Dog Theatre and their world premiere of “Spellbound,” and in the metro-east during her high school years. She won the Illinois Musical Theater Award, her ticket to the Jimmy Awards in 2012.
*** BOOKSHELF: New Line Theatre Artistic Director Scott Miller is also a prolific writer. His latest, “Idiots, Heathers, and Squips,” digs into a new batch of original, interesting musicals produced the first 15 years of the millennium.
He does deep dives into these 11 that represent “the astonishing variety and fearlessness of this new Golden Age: Urinetown, Sweet Smell of Success, Jerry Springer the Opera, Passing Strange, Cry-Baby, Next to Normal, Bloody Bloody Andrew Jackson, American Idiot, Heathers, and Be More Chill.
LISTEN IN: MK Andersen’s“The First Hundred Days.” She is inspired by the idea that if the first hundred days of a presidency are the most pivotal and important, then the first hundred days of X,Y and Z must also be important. New ones are released every Tuesday: https://yourdaybymk.com/podcast-first-hundred-days : MK, who operates a wedding planning business, is a graduate of University of Notre Dame with a bachelor’s degree in political science. For the podcast she has talked to a writer at Netflix, a former university president and others. In episode 2, a fascinating talk with former FCC Chairman Newton Minow (1961-1963) is here. Minow, 94, served under President Kennedy. He practices telecommunications law in Chicago and in 2016, received the Presidential Medal of Freedom from Barack Obama.
Fun fact: “Gilligan’s Island” creator Sherwood Schwartz named the tiny ship that took that fateful trip for Minow because he thought he had ruined television. Minow is noted for a speech in which he called American television a “vast wasteland.”
*** REEL TIMES TRIO: Of course I’m going to plug my own, Reel Times Trio podcast, which is Carl “The Intern” Middleman, myself and a rotating guest to discuss the latest movie releases, what’s out on DVD and streaming, what’s new in Hollywood and Broadway, what’s happening locally, good TV and more.
We’re on iTunes and SoundCloud, and have a Facebook page where we post episodes each week. We also are posted here at PopLifeSTL.com During the pandemic, after a brief layoff, we have transitioned to Zoom. Find us here: https://soundcloud.com/lynn-zipfel-venhaus
*** ICYMI: Need something to do? HBO has unlocked the vault on nine popular series that you can watch for free on HBO Now or HBO Go, or if you have cable TV, now through May 31. The shows are: Barry, Big Little Lies, The Wire, The Sopranos, Succession, Veep, Silicon Valley, Six Feet Under, True Blood and Ballers.
Need to know where you can find a movie to watch, whether
it’s streaming or not? Check out www.justwatch.com or
download the app on your phone.
Did you miss Andrea Bocelli’s free streaming concert from Milan on Easter Sunday? Here is the YouTube link to the half-hour concert, featuring the famed opera singer performing “Ave Maria,” “Santa Maria” and “Amazing Grace”: https://youtu.be/huTUOek4LgU
He told NBC News: “I believe in the strength of praying
together. I believe in the Christian Easter, a universal symbol of rebirth that
everyone – whether they are believers or not – truly needs right now. Thanks to
music, streamed live, bringing together millions of clasped hands everywhere in
the world, we will hug this wounded earth’s pulsing heart…”
One of the best ads yet on staying safe for the good of a city, Here’s Doner Advertising Agency’s uplifting message to Detroit: https://youtu.be/JJzlXhXrD7I
*** WORD: “The world needs artists more than ever to remind us what truth and beauty and kindness really are.” — Terence McNally (1938-2020), in his Lifetime Achievement Award speech at last year’s Tony’s.
By Lynn Venhaus
Passion drives the characters and the R-S Theatrics production of a miraculous
little musical that has something to say. The title “A Man of No Importance” is
a misnomer, for Alfie Byrne is a remarkable human being whose significance is mirrored
in the faces of his fellow Dubliners.
In a blockbuster musical theater climate that regularly serves feel-good fluff and
spectacle, Broadway heavyweights Lynn Ahrens and Stephen Flaherty wrote pensive
Irish-inflected music and lyrics and four-time Tony-winning playwright Terrence
McNally penned the book for a heartfelt rumination on friendship, acceptance,
creative expression and social mores for a 2002 Lincoln Center production.
This unconventional off-Broadway diamond in the rough feels like a pot o’ gold
discovery today. McNally, whose bold work on gay themes has been heralded
worldwide, adapted the 1994 film “A Man of No Importance” starring Albert
Finney into an introspective work of substance, a fanfare for the common man with
wry humor and touching moments.
Unlike the grand ambition of their masterpiece “Ragtime,” McNally,
and Ahrens and Flaherty, through their songs, give meaning to modest people and
their small-scale dreams and desires. And it’s in a specific setting – a working-class
Dublin parish in 1964, with quaint characters, during a time of innocence as
the world is changing.
With grace and laser-focus, director Christina Rios has created a cozy setting
that feels like the earnest characters are in your living room, that they are
part of your daily life and live next door.
“A Man of No Importance” at R-S TheatricsThe snug space gives the top-flight cast an opportunity to
gel like a community – the way an amateur theater group does, how church parishes
do, and why co-workers, pub mates and newcomers connect. You feel their moods,
Good-natured Alfie Byrne (Mark Kelley) is a bus conductor
by day, with a poet’s soul, and a creative force at night. Inspired by his
mentor Oscar Wilde, he fervently directs the St. Imelda’s Players, coming alive
fired up by art.
While kind and outgoing, he is also forlorn, a square peg
trying to fit into a round hole, as Alfie is a closeted homosexual when it was
still a crime in Ireland.
At home, he lives with his surly sister Lily (Stephanie
Merritt), who finds his hobbies peculiar, particularly his penchant for making
foreign dishes for dinner distasteful – Bolognese sauce, curry? She has decided
not to marry until he does, which adds to her exasperation. Merritt’s strong vocal
prowess is displayed in “The Burden of Life” and the touching ‘Tell Me Why” in
Stephanie Merritt and Michael B. PerkinsHer blustery steady beau, Carney (Michael B. Perkins), is the neighborhood butcher. Quite a ham on stage, he leads his enthusiastic castmates in the upbeat “Going Up!” – a fun song any thespian can identify with, setting the stage for the rehearsals to come.
But in an ugly character development, Carney also thinks it
is his moral duty to make the local church aware they are putting on “pornography,”
for he is appalled at Alfie’s choice for the next production – Wilde’s controversial
“Salome,” based on the tragic Biblical characters.
Miffed that he’s not the lead, Carney riles up the ladies’
sodality while the rest of the troupe are trying to find a way to costume the
seven veils and paint a realistic dummy head of John the Baptist. He wraps his
thoughts around it in “Confusing Times.”
Perkins has several stand-out songs, including the dandy comical
duet with Merritt, expressing outrage about Alfie’s proclivities “Books.”
Perkins also doubles as the flamboyant Wilde in dream
sequences, handling both with aplomb.
While Father Kenny (Dustin Allison) is shutting down the program, the church
hall teems with cast members, and we are introduced to a quirky assortment of folks
in this interesting patchwork quilt of a show.
Alfie loves these people. They’re home. They’re his “other”
Lindy Elliott as AdeleThere are the housewife diva-wannabes who flutter about him
– Miss Crowe (Kay Love), Mrs. Curtin (Nancy Nigh), Mrs. Grace (Jodi Stockton)
and Mrs. Patrick (Jennifer Theby-Quinn). Besides Carney, on the men’s side is
widowed Baldy (Kent Coffel), Rasher Flynn (Marshall Jennings) and Ernie Lally
All gifted singers, they are outstanding in the ensemble
numbers “A Man of No Importance,” “Our Father,” “Art” and several reprises. Nigh
has fun carrying out Naomi Walsby’s tap choreography in “First Rehearsal.”
Alfie has a secret crush on his co-worker, bus driver Robbie Fay (Kellen Green). He’d like to cast him as John the Baptist but Robbie’s not convinced. A lovely young woman, Adele Rice (Lindy Elliott), is new to town, and Alfie’s inspiration to tackle his mentor’s masterwork. Could she be his “Salome”?
Elliott, very impressive in this key role, sweetly sings a
reprise of “Love Who You Love,” and she and Kelley have a touching song
Kellen Green as Robbie
As the handsome, conflicted Robbie, Green is terrific, trying
to find his way — and has a secret too. He robustly delivers “The Streets of
Dublin,” one of the show’s best numbers, and has a moving duet, “Confession” with
Kelley. He shows his prowess on the violin and in a reprise of “Love Who You
Love” as well.
Another highlight is Kent Coffel’s tender rendition of “The
Cuddles Mary Gave,” as the character Baldy mourns his late wife.
Anchoring the whole shebang is Mark Kelley, a revelation as
Alfie. He understands this sensitive soul and his pain. He imbues Alfie with so
much conviction that his bittersweet songs, “Love’s Never Lost” and “Love Who
You Love” are affecting and the triumph of “Welcome to the World” is
As the dialect coach, sound designer and fight
choreographer in addition to the lead, Kelley has galvanized this production.
The fight is realistic thanks to assistant fight choreographer Rhiannon Skye
Creighton and Perkins as fight captain.
The Irish accents are spot-on and never waiver – kudos to
the cast’s commitment on getting it right. It makes a difference setting the
proper tone, and the lived-in quality of the production is noteworthy.
Kent Coffel and Mark KelleyThe orchestra is very much a key part of the production,
and not just because conductor Curtis Moeller doubles as a character, Carson.
The cast interacts with them and vice versa, and they excel at giving an authentic
Celtic sound to the score. Moeller is on keyboard, with Benjamin Ash on bass,
Twinda Murry and Hanna Kroeger playing violins, Emily T. Lane on cello, Adam
Rugo on guitars and Marc Strathman on flutes. They achieve a lush sound that piquantly
flavors the show.
Amanda Brasher’s costume designs are a treat. She nailed the characters perfectly, from vintage frocks to the nubby knit sweaters to the assortment of hats defining personalities. Stockton’s Mrs. Grace wears a stunning ballet-slipper pink lace two-piece suit straight out of Jackie Kennedy’s closet.
The musical is a slow simmer but worth the investment as the sympathetic characters ripen. While the story spotlights a different time in another country, it illustrates the universal social awakening that “Love is Love is Love.” And being accepted for who you are is a worthy topic no matter when or where.
R-S Theatrics’ “A Man of No Importance” is to be admired
for its wholehearted mounting of a little-known show, illuminated by a talented
group of performers who feel like family at the finale.
Jodi StocktonR-S Theatrics presents “A Man of No Importance”
Fridays and Saturdays at 8 p.m. Sundays at 7 p.m., Aug. 9 – 25, at the Marcelle
Theatre, 3310 Samuel Shepard Drive in Grand Center For more information or for
tickets, visit www.r-stheatrics.com
or call 314-252-8812.
By Lynn Venhaus
Oh, that puppy love. American playwright A.R. Gurney’s absurd comedy “Sylvia” presents
a marital conflict caused by a pretty pooch. In this case, the mutt takes on
human form and talks in perfect English. To buy into the conceit is to believe
the female fur child in its interaction with her male best friend, and it’s apparent
they are a tad too close.
That’s the premise in this drawing-room comedy, originally set in the 1980s, which first appeared off-Broadway in 1995, starred Matthew Broderick and Annaleigh Ashford in a limited Broadway engagement in 2015 and has become a favorite of adventurous theater troupes and dog lovers everywhere.
In Stray Dog Theatre’s production, energetic Susie Lawrence is expressive as the preening and prancing puppy that Greg takes a shine to in NYC’s Central Park. Wearing knee pads and modern girlie outfits, Sylvia — the name’s on her tag — happily makes herself at home in an Upper West Side apartment where an empty-nest couple have started the second chapter of their life, now that the kids are grown.
Kate and Greg are a cookie-cutter WASP pair, married 22 years. Likeable Kay Love and Tim Naegelin are the longtime married couple whose relationship begins to unravel when the dog comes between them. Is he just going through a mid-life crisis or does the obsession signal more? It could be construed as a romantic triangle on the icky side.
The trouble with the husband and wife characters is that
they’re bland. And there is not much to like about the generic one-note Kate,
who is back to work teaching and working on a master’s degree in English. Irritated
the minute she’s introduced, Kate takes an immediate dislike to the dog and
tried to veto it becoming part of the family. She refers to the dog as Saliva,
which is no longer funny after the first reference.
Greg appears adrift and gains no sympathy as he does nothing to repair things
with his wife. He has lost his mojo as a financial analyst after the kids left.
He doesn’t much like his job, quarrels with his boss, and starts spending more
and more time doting on Sylvia. Playing with a dog outdoors is healthy for all,
Well, not exactly, because the affection becomes creepy when Greg would rather be with the flirty dog than with humans. And it’s the only time vanilla Greg lights up.
Kate doesn’t ring true about her all-consuming hatred of the dog right away, while Greg’s bizarre behavior would alarm a therapist much quicker than when he eventually gets to one. Kate’s aggravation at the dog should grow as Sylvia chews shoes, sheds all over the couch, leaves puddles and encroaches on her personal space. The exasperation needed to build, not be at the same level as the beginning.
Photo by John LambAs the therapist in the second act, a New Age eccentric named Leslie who purposely does not want to be defined by any gender, Melissa Harlow is a hoot – and the visual sight gag of her tacky velour purple top and gold-print black palazzo pants is as amusing as her goofy accent, not unlike Martin Short as the wedding planner in “Father of the Bride.”
In fact, with her comic flair Harlow steals the whole shebang portraying three characters, two in the first act. Experienced at interactive comedy shows and mystery dinner theater where she works in St. Louis, she is the breakout star here.
Melissa Harlow and Kay Love. Photo by John Lamb
Laugh-out-loud funny as Phyllis, a typical but high-strung socialite who becomes unnerved by Sylvia’s over-enthusiastic greeting, Harlow had the audience howling as she became more agitated and unglued. The gifted comic actress recalls the classic sketches on “The Carol Burnett Show” or “Saturday Night Live.”
Her first character, Tom, is a ‘bro,’ a guy in the park who shares way too much information with Greg about interpersonal relationships and dog psychology.
Harlow is believable as all three – and it’s customary for one person to play them all. She brightened every scene she’s in, for as two acts progress in nearly two and a half hours, the play gets repetitive and somewhat tedious. Gurney could have tied everything up in a one-act because basically it’s an extended one-joke play and drags getting to its predictable conclusion.
Because she’s so animated, Lawrence is in contrast with the dull couple. That’s why Harlow’s antics are such a bright spot as well.
In the larger picture, Gurney, famous for his piercing look at the privileged Manhattanites in such works as “The Cocktail Hour” and “The Dining Room,” is making a bigger statement about humans’ desperate need to connect in an impersonal world, even if it’s with an animal.
Now that rings true. Gurney, whose best-known play is “Love Letters,” inexplicably falls back on tired clichés. The play could have benefited from more biting wit and frank social analysis.
Director Gary F. Bell has updated its time, now in 2000. He makes use of the Tower Grove Abbey’s small confines well, allowing frisky Lawrence to scamper about in scenic designer Miles Bledsoe’s suitable living quarters interior, with interesting skyline pieces as background.
Without opening up the play, it could be claustrophic. The outdoor scenes help change the scenery.
Bell dedicated the show to his own canine companion, Oliver Ogden Bell, and includes some choice quotes in the program as director’s notes, including this gem from John Steinbeck: “I’ve seen a look in dogs’ eyes, a quickly vanishing look of amazed contempt, and I am convinced that basically dogs think humans are nuts.”
No one is credited with sound, but the selection of music interludes is always pitch-perfect, whether it was Bell or Associate Artistic Director Justin Been. Use of the Cole Porter song, “Ev’ry Time We Say Goodbye,” which is included with the script, is a lovely rendition because the cast has good voices.
If you are a ‘dog person,’ you might not mind the contrasts in tone, or the depicted fantasy. “Sylvia” is one of those plays that divides people, depending on their point of view. The cast and crew put forth a terrific effort, but to me, the playwright barks up the wrong tree.
Tim Naegelin and Susie Laawrence. Photo by John LambStray Dog Theatre presented “Sylvia” June 6 –
June 22 at the Tower Grove Abbey. For more information about the professional
theater troupe and their new season, which starts in August, visit
By Lynn Venhaus
With its lush, unusual score and seductive setting, “The Light in the Piazza” is swoon-worthy in many aspects.
Regarded as demanding to present because of its music and dramatic complexities, this intricate musical heightens realism and challenges the most confident vocalist.
Its Tony-winning neoromantic score and orchestrations by Adam Guettel, grandson of icon Richard Rodgers, have more in common with opera and classical music than traditional showtunes, without any pop references.
Nevertheless, the cast of R-S Theatrics’ production rises to master the harmonies and embrace la dolce vita. Guided by music director Sarah Nelson, whose work is exceptional, with assured stage direction from Christine Rios, they project a confident grasp of the material.
Some of the lyrics are in Italian, and silky-smooth voiced Tielere Cheatem, as Fabrizio, is impressive, particularly in his fluid renditions of “Il Mondo Era Vuoto” and “Passeggiata.” His family, the Naccarellis, speak impeccable Italian and deliver richly textured vocals – Kent Coffel as Signor, Jodi Stockton as Signora, Stephanie Merritt as Franca and Micheal Lowe as Giuseppe.
Special mention must go to Italian language coach Myriam Columbo, for it feels organic.
It’s the summer of 1953, and the well-to-do Southern matron Margaret (Kay Love) returns to Florence, Italy, where she spent her honeymoon. With her innocent 26-year-old daughter in tow, her joy is tempered by the special needs of the developmentally delayed Clara (Macia Noorman), who was hit in the head by a Shetland pony at age 10. She matured physically but not emotionally/mentally. It is more subtle than obvious, but when Clara gets upset, she behaves like a petulant child.
The melodramatic story is adapted from a novella by Elizabeth Spencer, which became a turgid 1962 movie starring Olivia de Havilland, Rossano Brazzi, Yvette Mimieux and George Hamilton (?!? as Fabrizio). The 2005 Broadway show was nominated for 11 Tony Awards and won five. It had both fans and detractors, and I was one of its sharpest critics, particularly of the book by Craig Lucas.
Not a fan of the 2007 touring production, which was swallowed in the Fox, was devoid of sympathy for the mother and did not have an ounce of nuance in what I considered a duplicitous transaction.
Not so here – surprise! – because of the performances and the interpretation, although they can’t help that the book has some issues.
Several key elements soothed my misgivings, but mainly it was because of Kay Love’s splendid performance as the Southern matron Margaret, which is the lynchpin to the whole show.
Love earns our sympathy right away – it is a virtuoso performance that highlights her outstanding vocal talent while giving her a juicy role in which to shine. You feel her dilemma, and the emotional rollercoaster she endures. Her North Carolina accent is refreshingly soft and does not overpower her character, thanks to dialect coach Mark Kelley.
All that guilt Margaret carries is shown on Love’s face, along with the regrets of a lackluster marriage, and a life, though comfortable, spent in service to others. She’s exasperated keeping tabs on an excited Clara, who encounters a young Florentine, Fabrizio. It’s love at first sight for both.
As Clara, Macia Noorman’s accent weaves in and out. Noorman and Cheatem work well together, but she seems more tentative in the duets and went sharp or flat more often in her vocals, particularly when paired with someone. However, her “Clara’s Interlude” is quite lovely.
Rios does not make this entanglement of two star-crossed families overwrought, rather keeps focus on the complicated romance and culture clash. As Margaret wrestles with the couple’s wedding plans, she must decide if she believes in love and her daughter’s happiness. Her husband Roy (Robert Doyle) is of no help, or empathy.
In addition to their superb vocals, the actors playing the Naccarelli family stand out. Kent Coffel plays the haberdasher father with such authority that you believe he is a Florentine of stature while a winsome Jodi Stockton has a nice motherly moment explaining the proceedings to the audience.
Stephanie Merritt gives considerable oomph to the tempestuous Franca so that she is not just a caricature, and soars in her number, “The Joy You Feel.”
While Love imbues her numbers with emotion, her rendition of the finale “Fable” is stunning, all the more remarkable because it follows a fabulous “Love to Me” sung by Cheatem. Love has a sweet duet with Coffel, “Let’s Walk,” before two families join together.
The power of the cast’s voices match the character demands, and Nelson’s musical work must be recognized, for the level of difficulty is understood.
The expressive orchestra adds so much, with Terri Langerak playing a glorious harp, Emily Lane on cello, Kelly LaRussa on violin, Jacob Stergos on bass and Nelson on piano. Their expert skill provided a luxurious sound that elevated this show.
The location also prominently figures into the presentation. Florence is an alluring city of Renaissance masterpieces in the Tuscany region of Italy, with its postcard Mediterranean landscapes, ancient history, and extraordinary art, culture and cuisine. It’s also a character.
The look and feel of this show combines tantalizing adventure with a traveler’s awestruck sense of wonder, providing atmosphere along with sense of time and place.
The piazza, a town square, is where we meet a very tight ensemble, crisp in purposeful movements and welcoming in demeanor. Chris Kernan, Jason Meyers, Louisa Wimmer, Robert Doyle, Melissa Christine, Lindy Elliot, Ann Hier and Anthony Randle are a compelling chorus.
Keller Ryan’s scenic design allows for this tableau to come alive with a captivating vibrancy while Nathan Schroeder’s lighting design provides a burnished glow.
They all look marvelous, too — chic fashion choices by costume designer by Ashley Bauman enhanced the characters’ personalities.
Margaret can’t help but be swept away by the scenic views and the teeming crowd, and neither could I. The intimate staging, the strong creative aspects and the level of talent add up to a must-see production.
R-S Theatrics opens its eighth season – The Season of the Not-so-Perfect Past — with the St. Louis premiere of “The Light in the Piazza” Aug. 10 – 26, Friday and Saturday at 8 p.m. and Sunday at 7 p.m., at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, 63103. Tickets can be purchased through Metrotix.com. For more information, visit r-stheatrics.org.