By Lynn Venhaus

During the ten-minute intermission, I overheard a woman in the audience tell her companion: “I hope my kids don’t find my diaries.”

Whoa, and that reaction was before The Midnight Company’s seismic second act of “Rodney’s Wife.” I surmised other parents probably shared that sentiment at some point during this unsettling, distressing drama written by Richard Nelson.

Director Joe Hanrahan, who is eager to explore different dimensions, does not shy away from edgy or dark, thinks cinematically, and has an affinity for the period and the inner workings of show business, slowly pulling back the curtain, so to speak.

He has assembled a cast of six local acting heavyweights, who illustrate why they are so highly regarded, and the retro Italian setting is a designers’ dream.

The daughter of Rodney and his second wife, who found her mother’s diary from an eventful summer in 1962, introduces herself and takes us back to that time.

Kelly Howe is believable in dual roles, carefully choosing what emotion to display when. The statuesque Fay is a former actress who had married a widower 10 years ago. Rodney (John Wolbers) is now a fading movie actor. Is she content in her current role as “Rodney’s wife”?

In a quietly shattering performance, Howe starts out staying in the background while other big personalities suck the air out of the room — and then tries not to be suffocated.

Kelly Howe as Fay. Photo by Joey Rumpell

Her arrogant, domineering husband and his overbearing, busybody sister Eva (Rachel Tibbetts) try to control the temperature in the room. Eva was married to Rodney’s manager but is now a widow.

For people who pretend to live out loud, something is obviously ‘off,’ and subtle clues poke through the facades. Nelson builds tension, with anxiety and desperation fighting for attention in a shades of Anton Chekhov meets Tennessee Williams way, minus all-encompassing gloom and predictably overwrought hysteria.

Without spoiling any crucial plot turns, “Rodney’s Wife” has many layers and moving parts in its portrayal of a dysfunctional family. Oh, it’s complicated, all right. The melodramatic action is akin to divulging bombshells on a TV soap opera, and torching others with the secrets.

A prolific American writer, Nelson won a Tony Award for best book of a musical (James Joyce’s “The Dead” in 2000), and several Obie Awards. “Rodney’s Wife” was mounted off-Broadway in 2004 at the Playwrights Horizons, starring David Strathairn and Jessica Chastain as father and daughter.

As Fay prepares for a small celebration in a rented villa on the outskirts of Rome, well-heeled and seemingly carefree folks rush in, laughing and drinking copious amounts of alcohol. Rodney’s daughter Lee (Summer Baer), who has been mostly away at boarding school and college, has surprised her father with big news — she is engaged to Ted, a smart, amiable American writer (Oliver Bacus).

Rodney is regaling his future son-in-law with boorish moviemaking stories. Turns out the actor, a legend in his own mind, is filming a spaghetti western, but this is not exactly Clint Eastwood as the Man with No Name. These are the low-budget early years of the Italian fascination with the American West, before Sergio Leone would make his mark with this distinctive genre.

Dissatisfied and unpleasant, Rodney is rescued from his miserable experience by his new manager Henry (Ben Ritchie), who drops off a script that he views as more suitable for his talents, only they’d have to leave for America the next day. In addition, Henry, while professional and practical, has his own worries back home.

And why is Fay like a cat on a hot tin roof in the midst of the merriment?

Summer Baer and Ben Ritchie. Photo by Joey Rumpell

What started out as a forced happy family gathering unravels into shock and betrayals, attitudes are laid bare, and scabs are picked at and reformed. Some prefer not to play along, others mask their feelings for survival, and the perpetual role-playing is ongoing.

All six are clinging – whether to fading beauty, to their comfortable lifestyle, to forging a new identity, to the past, to keeping up appearances, their deceptions, or to whom they think they are/should be.

As the self-absorbed Rodney, John Wolters is revelatory, displaying a dramatic heft that you don’t often see when he’s trotting the boards, usually (but not always) in lighter fare. I wish Nelson had not written Rodney as a cliché.

Sartorially splendid, Rachel Tibbetts’ Eva craves the spotlight as much as her actor brother, and she fools no one as a busybody Karen trying to tell everyone else how to live their lives. Her equally loud brother indulges her, and Tibbetts embraces being abrasive in a role that’s mostly comical, but she conveys enough depth to make it more than one-note.

As the not-fully-formed 25-year-old adult daughter Lee, Summer Baer modulates the tones between dutiful daughter, her stepmom’s pal, tolerant of her hovering aunt and supportive fiancé to Ted. But what is it that she wants? A conflicted Lee doesn’t appear to be as forceful expressing what she wants as everyone around her seems to know what’s best for her.

Photo by Joey Rumpell

Although Bacus portrays Ted as assured as he’s making first impressions, it is as if Lee has blithely brought a prey into the lion’s den. You feel for this guy, hoping he’s better at seeing the red flags than we are.

Nelson has boxed himself into a corner narratively, and both Fay and Lee are frustratingly enigmatic – but the pair of actresses do everything they can for more fully realized interpretations.

However, his savvy choice of Rome 1962 is an exciting canvas for Bess Moynihan, whose scenic and lighting designs are astonishing, and for Liz Henning, whose astute costume designs are some of the best she’s ever done on local stages. Miriam Whatley has designed props that are ideally suited to the atmosphere.

Moynihan’s flair for striking production design – complete with an inviting patio –provides a good flow for character movements. Her superb lighting, especially the natural dawn, effectively establishes the shifting moods over the course of a night and day.

The drama’s impressive sleek look touches on what an attractive playground Italy was in the 1960s, not only because of the cultural revolution in movies, music, art, fashion, and style but how post-war Italy was putting fascism in the rear-view mirror and hedonism was in full throttle.

Hanrahan and company are successful in creating an intoxicating vibe of exotic travel, lush surroundings, and a pop art palette without having the benefit of idyllic sun-drenched exteriors. (I mean, we’ve seen “Three Coins in the Fountain”! I digress…).

As an example, Federico Fellini had unleashed “La Dolce Vita” in 1960 and was working on his opus, “8-1/2” (released in 1963), and he wasn’t the only director getting buzz in this new golden age. Michelangelo Antonioni’s “L’avventura” also was released in 1960.

Rodney looks like a guy who could be driving an Alfa Romeo while the handsome, well-mannered Ted could be tooling down the Amalfi Coast in a Fiat, doing his best Marcello Mastroanni.

The women wear their stylish cocktail dresses and chic casual attire with aplomb, sometimes adorned with bright scarves, and their hair is fixed in elegant styles – Lee’s swept-back ponytail, Eva’s classic elegant knot. The air of luxury permeates the small space.

During intermission or before/after the show, be sure to view a special fashion collection in the Chapel, which highlights haute couture of the era, and the designers, colors and styles that were famous.

Because of the fine performances, The Midnight Company has elevated this work, sharpening the explosive interpersonal dynamics. With inspired highly skilled craftmanship from the creative team, The Chapel’s intimate space has been admirably transformed into a mid-century modern with an international aesthetic.

Using the irony of such a luxurious landscape, Nelson has basically imprisoned his characters, who are products of their time, for better or for worse, which makes the sorrow and the unspoken regrets hang heavy in the air.

The Midnight Company presents “Rodney’s Wife” from July 7 to July 23, with performances at 8 p.m. on Thursdays, Fridays, and Saturdays and at 2 p.m. on Sunday, July 10 and 17, at The Chapel, 6238 Alexander Drive, St. Louis. For more information, visit: www.midnightcompany.com.

The Midnight Company, celebrating its 25th Anniversary Season in 2022, is announcing its lineup of productions for this landmark year.

Midnight will open with ANOMALOUS EXPERIENCE by the Company’s Artistic Director, Joe Hanrahan, running May 5-21 at the Kranzberg Black Box Theatre.

Inspired by true events, the play is designed as a public lecture from a respected psychiatrist.  He’s been dealing with professional ridicule for his research into the phenomenon of Alien Abduction.  In the course of the play, he will present two patients who, in very different ways, have been victims of their perceived abductions. While he’s not exactly sure what’s going on, the psychiatrist is convinced that something real, something profound, is happening to these people and to our world. 

Hanrahan said “The recent recorded sightings by military pilots and renewed government interest in UAPs provide the current backdrop for this modern ghost story.”  ANOMALOUS EXPERIENCE will be directed by Morgan Maul-Smith.  Recently she directed ON GOLDEN POND at Kirkwood Theatre Guild and EARWORM by Shualee Cook at Tesseract, and she’s also directed in Montana at Missoula Children’s Theater.

Midnight’s second show of the season will be RODNEY’S WIFE by Richard Nelson, directed by Joe Hanrahan, running July 7-23 at The Chapel. The play is set in Rome, 1962. Rodney is a fading American movie star, brought over to star in one of the first Spaghetti Westerns.  With him is his (second) wife, his daughter from his first marriage and his sister, whose husband, Rodney’s agent, just died, leaving her grasping on to her brother, getting into the middle of everything happening to his family. 

This powerful yet delicate 2004 play won critics’ raves, with New York’s Time Out saying “Nelson plunks his characters down at the crossroads of erotic tension and family guilt,” citing its echoes of “the closely observed simplicity of Chekhov” as well as “the eloquent bitterness of Albee.”  Hanrahan said,

Morgan Maul-Smith. Photo by Rachel Bailey

”Rome in1962 was the most exciting city in the world. The playwright has taken the passion and lust for living characteristic of the time and place, and infused it into a tumultuous day and a half in the lives of these characters.” The cast will include Kelly Howe as Faye (RODNEY’S WIFE), Rachel Tibbetts as Eva (Rodney’s sister) and John Wolbers as Rodney. The Italian villa set will be designed and lit by Bess Moynihan, with costumes by Elizabeth Henning.

The final show of the season will be ST. LOUIS WOMAN, written and directed by Joe Hanrahan, running October 6-22 at the .ZACK.  The show tells the stories of women who inspired and helped forge the legendary history of St. Louis music, and then spread that sound around the world.  The One-Woman Show with Music – performed by St. Louis singer/actress LAKA – begins with “Frankie And Johnny” and “St. Louis Blues”, two songs that put St. Louis on the musical map. 

And continues with characterizations and songs of Willie Mae Ford Smith (the Godmother of Gospel), Josephine Baker, Billie Holiday (who didn’t live in St. Louis, but played often at the Plantation Club, a hotspot on Delmar Boulevard in the 40’s, where the best black musicians of the day entertained white audiences), Tina Turner and more. 

Their abilities to rise above their troubled beginnings in a racially divided city and time, and to pour their souls into memorable song, provide the narrative for an exhilarating, inspiring show.  Hanrahan said “The first time I heard LAKA sing, I knew I wanted to work with her.  We talked of collaboration, and it led to ST. LOUIS WOMAN.  It’s our take on great music that came out of St. Louis, and the legendary women who made it.”

The Midnight Company made its debut in 1997, with a production of Eric Bogosian’s POUNDING NAILS IN THE FLOOR WITH MY FOREHEAD at the original home of the Contemporary Art Museum in St. Louis. Since then the Company has presented 50 productions, most new to St. Louis, along with several original scripts written by Hanrahan. 

Their seasons have included such modern classics as WAITING FOR GODOT, SKYLIGHT, GIVE ‘EM HELL HARRY and A JUDGMENT AT NUREMBERG, and featured noted contemporary playwrights Wil Eno, Conor McPherson, Steven Dietz, Daniel MacIvor and Mickle Maher.

David Wassilak formed the Company with Hanrahan in 1997, and was part of the group till his departure in 2007. Sarah Whitney then joined Midnight in 2010 as Associate Artistic Director, and directed many of its productions till she left the Company in 2020.

Kelly Howe. Photo by Todd Davis.

The Company has performed in a variety of spaces – recently at the venues of the Kranzberg Arts Foundation and The Chapel – and productions in the past have been presented at spaces of The Missouri History Museum, Christ Church Cathedral, The Duck Room at Blueberry Hill, The Philadelphia Fringe Festival, The Jesse James Farm in Kearney, MO, Stray Dog’s Tower Grove Abbey, Winter Opera, pubs including McGurk’s, Dressel’s and The Great Grizzly Bear (and former pubs such as The Monocle and Cafe Balaban/Herbie’s Vintage 72), former trlrvision production studiosTechnisonic and Avatar, the former venue St. Marcus Theatre, Carrie Houk’s former Maplewood Acting workshop HH Studio, and warehouses at The Lemp Brewery, plus a production at The historic Learning Center (formerly the Wednesday Club) for The Tennessee Williams Festival, and several appearances at both the St. Louis Fringe Festival and the St. Louis Theatre Crawl.  

While at the Post-Dispatch, theatre critic Judy Newmark wrote, “The Midnight Company have gone out of their way to demonstrate that theatre is an art, not a building…their imagination and refusal to accept conventional limits can teach something to all of us us, in theatre or not.”

A visit to the website, MidnightCompany.com, offers a look at all previous Midnight shows, including photos, graphics, video, and reviews, and there’s a Blog with commentary on influences on the group’s work, decisions on choosing the plays they present, takes on trends in St. Louis theatre, the Women We Love series and much more.


   LAKA in ST. LOUIS WOMAN photo:  Todd Davis

By Lynn Venhaus
A domino chain of events have a devastating effect on a group of blue-collar steel workers in Lynn Nottage’s hard-hitting play, “Sweat,” which won the Pulitzer Prize for Drama in 2017 and retains its timeliness.

The Black Rep’s outstanding production, which kicked off its 45th season on Sept. 9 and continues through Sept. 26, features powerful performances in a lived-in atmosphere.

You know these characters, the ‘little guys’ who’ve worked the factory floor for years and thought their labor unions would protect them when the corporate owners moved operations to another country for a cheaper labor force.

Set in a local tavern where the Olstead mill workers hang out in Reading, Pennsylvania, this could have taken place in Granite City or Centralia, Ill., or near the shuttered car plants in St. Louis.

Director Ron Himes knows this and understands how today’s political and racial tensions are much the same as then, as well as immigration issues. Those are addressed in two story arcs — changing demographics and the territorial birthright felt by the longtime Caucasian residents.

Sadly, this tale is often not one of fiction in real lives — and has become familiar to anyone living anywhere in the Rust Belt, part of those Northeast and Midwestern regions where an industrial decline has been going on for decades, especially where coal and steel were economy mainstays.

The 2015 play starts and ends in 2008, but most of it takes place in flashback eight years earlier – in 2000, a pivotal time in America, after NAFTA is in place and corporations are going to Mexico. Transparency is not a word in these companies’ vocabulary, as they leave communities shattered and people broken.

The North American Free Trade Agreement was signed by Canada, Mexico, and the United States in 1994 and created a trilateral trade bloc.

The action veers from longtime friends celebrating birthdays, laughing, joking and talking about their lives to escalating tension as uncertainty about their jobs increases, along with harsh outlooks on their economic futures.

This ensemble is nimble and natural, conveying the complexities of their relationships with skill and emotional depth. The cast projects how longtime friends act and what their workplace is like with ease.

Nottage’s dialogue is shrewd and perceptive about race, class and identity. She understands the frustrations of these characters, and the lens in which they view the world.

Nottage, who is the only woman to win the Pulitzer Prize twice for Drama, first for “Ruined” in 2009, frequently writes about marginalized people.

For Cynthia and Tracey, is friendship or survival stronger? The actresses Amy Loui and Velma Austin expertly convey their conflicts and mood shifts, show how friendships sour when misunderstandings and envy erupt.

Their friend Jessie drinks too much and once had dreams of traveling the world but got a job at the factory and stayed. Kelly Howe gives what could be a stereotype some nuance – and superbly displays various levels of inebriation.

The cast is anchored by Stan, the bartender who was injured on the job at the mill and reflects on multiple labor issues as he is often the voice of reason – and at least history.

He attempts to put things in perspective and tells the young bucks who are chomping at the bit that they should be outraged by the bosses, not the little guys trying to get ahead like they are.

In his Black Rep debut, Black Anthony Edwards is impressive as the guy who’s good at listening, who speaks common sense, and has made lemonade out of the lemons he was given impairing his leg and being unable to work at what he did for years.

Physically, he looks like the character Stan. Praise to the costume designer Hali Liles for her spot-on outfits depicting the wardrobes of ordinary people living in the Rust Belt.

After they strike, and Cynthia and Tracey’s sons Chris and Jason are laid off, their lives are altered forever after tensions explode in violence. The fight choreography by Paul Steger is fluid and the cast well-rehearsed to make it seem natural.

Chris wanted to make something of himself, and Brian McKinley earnestly portrays his yearning to achieve, especially after watching his dad Brucie (frequent Black Rep performer A.C. Smith) fall on hard times after being shut out at a textile plant.

The boys serve prison sentences, as reflected in the opening scene with parole officer Evan, played with authority by Don McClendon. Franklin Killian is strong as the hothead redneck Jason, now tattoed on his face and a white supremist. He perfectly embodies the once fun-loving guy now a lost soul.

The subject of the boys’ rage is represented by Oscar, a Colombian American who works as the bar’s busboy but seizes an opportunity to make more money by replacing striking workers. The regular clientele are seething about this ‘scab.’

Oscar, well-played by Gregory Almanza, pours out his heart to Stan, telling him about how ignored he is, perceived to be an immigrant when he was born in the U.S. His dad swept floors at the mill, now he wants to achieve more. He is caught in the crossfire of misplaced fury.

The scenic design by Tim Jones aptly captures this world, with detailed property work by Meg Brinkley, all expertly lit by lighting designer John D. Alexander. The jukebox works well, thanks to the terrific sound design by Kareem Deanes.

Featuring one of the year’s best ensembles, a timely tale and expert production elements, “Sweat” is not to be missed.

Velma Austin as Cynthia. Photo by Phillip Hamer.

“Sweat” will continue through Sept. 26, with Thursday show at 7 p.m., Friday and Saturday at 8 p.m., and Sunday at 3 p.m.

$15 student rush tickets are available for all shows — 30 minutes before the show with a valid student I.D.

For more information: www.theblackrep.org

Season subscriptions and single tickets for “Sweat” are available at www.theblackrep.org or by calling the Box Office at 314-534-3807. Groups of 12 or more may also reserve tickets by phone. Seating will be at 50 percent capacity; for complete information on current health protocols please visit www.theblackrep.org.

The Black Rep’s 45th Anniversary Season sponsors include the Arts and Education Council, The Black Seed Initiative, Centene Charitable Trust, Missouri Arts Council, Regional Arts Commission, Rodgers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis.

COVID-19 PROTOCOLS

Our top priority for reopening is the health and safety of our staff, artists and patrons. We have been working diligently to bring live theatre back. The Black Rep is part of the growing coalition of St Louis performing arts venues and producers that have agreed upon Covid-19 Vaccination/Testing and Mask Requirements for audiences, artists and staff through the end of 2021.

Everyone must be fully vaccinated or have received a negative covid test results no more than 72 hours prior to coming on campus. A Covid19 vaccination card or a negative test result must be presented upon entering the building.

Masks are required at all times while indoors on campus. Even if you are seated in pods and distanced, masks must remain in place.

Everyone will need to complete the visitorscreening.wustl.edu within 2 hours of your arrival to campus. You will receive a message indicating that you are cleared to come to campus and you will be asked to present the “cleared” message to ushers at the entrance of the building. For those without smart phones, there is a station in Mallinckrodt where you can complete the screener on an iPad. If you receive a message that you are “not cleared”, we ask that you not come to campus or leave campus if you are completing the screener on campus.

The St. Louis Black Repertory Company opens its 45thAnniversary Season September 10 with an in-person production of the Pulitzer Prize-winning “Sweat” by Lynn Nottage. Addressing the complexities of race, class and friendship at a pivotal moment in America,
the powerful work will be presented in person at the Edison Theatre at Washington University and directed by Founder and Producing Director Ron Himes. Previews begin on Wednesday, September 8.

A courageous and heartbreaking story explores the lives of a tight-knit group of factory workers who spend their days drinking, sharing secrets, and laughing. When layoffs and strikes create tension within the group the trust is broken. “Playwright Nottage tensely captures the root of our current political and racial tension in society today,” said Himes. “Are we only looking out for ourselves or are we
responsible for each other?”

The cast features Velma Austin (Joe Turner’s Come and Gone, The Screened in Porch), A.C. Smith (King Hedley II, The Trials of Brother Jero), Amy Loui (Canfield Drive, Three Ways Home), Don McClendon (Blues for Mr. Charlie), and Brian McKinley (Home, Spell #7). Franklin Killian, Blake Anthony Edwards, Gregory Almanza, and Kelly Howe will all be making their debut at The Black Rep

The production will feature Scenic Design by Tim Jones, Lighting Design by Jonathan Alexander, Costume Design by Hali Liles, Sound Design by Kareem Deanes, and Properties Designed by Meg Brinkley.

Fight Choreography will be done by Paul Steger who is certified by the Society of American Fight Directors and holds advanced certificates from the British Academy of Stage and Screen Combat & Fight Directors. Jim Anthony is the Stage Manager and Technical Fellow Tatiana Durant is the Assistant Stage Manager.

Season subscriptions and single tickets for “Sweat” are available at www.theblackrep.org or by calling the Box Office at 314-534-3807. Groups of 12 or more may also reserve tickets by phone. Seating will be at 50 percent capacity; for complete information on current health protocols please visit www.theblackrep.org.

The Black Rep’s 45th Anniversary Season sponsors include the Arts and Education Council, The Black Seed Initiative, Centene Charitable Trust, Missouri Arts Council, Regional Arts Commission, Rodgers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis

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.  

Starring: 

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.

Starring: 

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. 

Starring: 

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.

Learn more about Prism on our website, Instagram, and Facebook.