SATE’s Homage ‘Classic Adventure Movie’ Celebrates Childhood

SATE’s Homage ‘Classic Adventure Movie’ Celebrates Childhood

By Lynn Venhaus

Hey, you guys!!! Do you remember growing up? Did you ever act out a fantasy adventure with your pals? Did you watch VHS tapes that you rented from the local Blockbuster Video?

Checking those boxes means you are the primo audience for SATE’s zany “Classic Adventure Movie,” which is an exuberant tribute to limitless childhood imaginations, a theatrical time-travel experience, and an homage to beloved characters who grew up in the Goon Docks.

With great affection, the company recreates the playful spirit of the Millennial touchstone, “The Goonies,” an iconic family film that premiered the same summer that “Back to the Future” did – in 1985.

Ever since this heartwarming tale of friendship came out on home entertainment, kids have been watching it over and over, repeat viewings a must. And any mother of Millennials knows it well (even if it’s been a while for me).

Chunk’s being threatened by the Fratelli gang. Photo by Joey Rumpell.

Get ready for that same warm glow of nostalgia that occurs when the children of the 1980s and 1990s remember how they fell in love with a merry band of misfits who dove into danger with the derring-do of a teenage Indiana Jones and the detective skills of Nancy Drew and The Hardy Boys.  

And some of them, along with a few intrepid Gen X’s and Gen Z’s, are part of this fearless gang of “Never Say Die” performers who dash, dart, and dare to have fun as part of this fearless ensemble.

SATE is a regional theatre group renowned for its well-cast ensembles and strong collaborations, and this is another dandy example of the band getting back together and having the time of their lives.

Dynamic duo Rachel Tibbetts and Ellie Schwetye are the co-producers, with Rachel directing a fast-paced and funny show, where the comic lines land, the role-playing is spot-on, and the sentiment is endearing. Tibbetts injects the heart, Schwetye provides the soul as sound designer.

Courtney Bailey, Frankie Ferrari and Katie Donnelly. Photo by Joey Rumpell.

Ellie has compiled a greatest hits soundtrack to supply the audience with favorite movie themes and songs. Yes, you’ll hear John Williams’ unmistakable work among poppy needle drops, and it’s a terrific score to compliment this show.

This proud and loud troupe of 13 spryly navigate a makeshift playground of caves, secret passages, pirate ships, booby traps – and booty traps — and other escapades set up in the friendly, intimate confines of The Chapel (subbing for Astoria, Oregon).

It’s clear that the cast and crew have been sprinkled with Steven Spielberg’s magic pixie dust, and they’ve become kids again.

The movie plot is based on a story by Spielberg, who was inspired by Mark Twain’s “The Adventures of Tom Sawyer” when Tom and Becky Thatcher are lost in a cave.

Written by Chris Columbus (“Home Alone” and “Mrs. Doubtfire”), the script focuses on a group of buddies who must move from their working-class neighborhood when a developer forecloses on their families’ homes to build a golf course.

Photo by Joey Rumpell.

Director Richard Donner (“Superman” and “Superman II”) drew authentic performances from the youngsters, showcasing their natural chemistry and high energy. That’s embodied by spunky Ricki Franklin as Mikey, the eternal optimist.

Franklin is the driving force as the lovable, loyal pal played by Sean Astin. She wears the trademark jean jacket, too. Costume designer Liz Henning splendidly outfitted each character to have some specific items to mark each look from on screen, such as Keating’s mismatched pants and shirt wardrobe copying Chunk’s lack of sartorial splendor.

Luck may be on their side as they discover notorious pirate One-Eyed Willy’s treasure map that could lead to some valuable loot. They must follow clues. But they’re not the only ones searching – a family of crooks is hot on their trail.

Fierce LaWanda Jackson is funny as the ruthless crime boss Mama Fratelli whose knucklehead sons are more of a hindrance than a help – Anthony Kramer-Moser is Jake and Victor Mendez is Francis, and they demonstrate their slapstick prowess, for they are more Three Stooges than wise guys.

Joining Mikey on this wild adventure are chatterbox Mouth, aka Clark Devereaux, with goofball Cassidy Flynn in the Corey Feldman role; tech wizard Data, with versatile Ashwini Arora in the future Oscar winner Ke Huy Quan role; rapscallion Chunk, with inventive Keating in the mischievous Jeff Cohen role. “I love the dark! But I hate nature!” they say.

Joey Rumpell photo.

The pals team up with high school jock Brand (Mikey’s older brother Brandon), with Carl Overly Jr. sporting a red bandana and gray shirt as the tough protector played by Josh Brolin.

Helpful is perky Andy, a popular cheerleader who has a crush on Brand, and is played by multi-faceted Hailey Medrano in the Kerri Green role. Her feisty best friend Stef is vibrant Marcy Wiegert in the resourceful role played by Martha Plimpton in the movie.

The actors added recognizable touches in their personal development of these iconic parts, and as anticipated, Keating goes to town in the “Truffle Shuffle.”

Two narrators are Katie Donnelly as Barb and Courtney Bailey as Lizzie, and they fill a variety of needs, including playing bridge trolls.

One of the sweetest touches was having some of the actors talk about their favorite movie from their youth in a heartfelt monologue, why it moved them and why the mattered. Jackson talked about “The Wiz,” Flynn “Pokemon,” Ferrari “Under the Tuscan Sun,” Keating “E.T. the Extra-Terrestrial” and Wiegert “Labyrinth.”

The Goonies. Photo by Joey Rumpell.

One of the most inspired additions is Frankie Ferrari as Cyndi Lauper, the pop singer who had a cameo in the movie. She penned the title song “The Goonies R Good Enough” included on the soundtrack.

The music video was in frequent rotation on MTV, so she is part of its legend. The playwright found clever ways to use Cyndi, and Ferrari is all in, singing, dancing and replicating the pop star’s thick Brooklyn-Queens combo accent.  

The set design by Erik Kuhn has some sight gags, movie posters, and delightful reminiscences of childhood days gone by. Kuhn also served as technical director. He had to be handy and resourceful, coming up with clever substitutions for grand-scale images. Wearing a third hat, he served as fight director, too.

Katherine Leemon did a terrific job finding props that were integral to each character. Denisse Chavez expertly took care of the lighting design.                                                                                                                                                                                      

The play was written by Keating, after being conceived by Tibbetts, Flynn and Keating at a sleep-over birthday party where they watched “The Goonies.” They have included the most memorable parts of the movie, and one role is given to an audience member.

The cast of “Classic Adventure Movie.”

This is the group’s second work in a hopeful trilogy, after “Classic Mystery Game” in 2019, and uses story elements from their “First Impressions” on the Jane Austen novel “Pride and Prejudice” in 2017.

“Classic Adventure Movie” is elevated by SATE’s trademark camaraderie. The fleet-footed and expressive cast deliver one-liners and recognizable quotes from the movie in such a fun way that they must have put extra oomph into rehearsing the play to get the timing just so.

A primer on “The Goonies” isn’t a pre-requisite, but helpful. No matter what, you’ll be swept away by the youthful enthusiasm as they outwit, outplay, outlast – and outsnark — the villains.

SATE presents the world premiere of “Classic Adventure Movie, or Never Say Die,” Sept. 11 through Sept. 27, with shows Thursday through Saturday at 7 p.m. at The Chapel, 6238 Alexander Drive. For more information: satestl.org.

New Jewish Theatre’s Bright and Funny ‘The Heidi Chronicles’ Engages with Vibrant Performances

New Jewish Theatre’s Bright and Funny ‘The Heidi Chronicles’ Engages with Vibrant Performances

By Lynn Venhaus

OK, Boomers. Does “The Heidi Chronicles” retain its bittersweet ‘voice of a generation’ 37 years after its laudable premiere in 1988?

Yes, it does in New Jewish Theatre’s persuasive production now playing through June 15. One woman’s coming-of-age story and her realization of self-worth still hits home.

Under Ellie Schwetye’s perceptive, poignant direction, an exemplary cast breathes life into these well-defined characters with warmth, wit and understanding. They are as resolute as the director and creative team in sharing this quest for fulfillment.

Those of different generations perhaps can relate in a universal parallel lives’ way, for whip-smart playwright Wendy Wasserstein’s entertaining and profound insights endure.

As a fellow child of the 1960s, Wasserstein’s words have always spoken to me. But now, looking in the rear-view mirror, with humor, heart and hindsight, this ensemble’s backbone and boldness was measurable.

Consciousness-raising, 1970s style. Photo by Jon Gitchoff.

Wasserstein, who sadly died of lymphoma at age 55 in 2006, won the Pulitzer Prize for Drama and the Tony Award for Best Play in 1989 for this masterwork. Fun fact: she was the first solo female writer so honored with the award.

Her long-lasting legacy is apparent, creating richly textured characters and the ever-identifiable self-doubts. She also wrote “The Sisters Rosensweig” and “An American Daughter,” plus an under-appreciated Paul Rudd-Jennifer Aniston 1998 movie “The Object of My Affection.” But none landed like Heidi’s story.

As Heidi Holland, Emily Baker’s transformation from awkward schoolgirl to confident feminist who becomes a well-respected art historian over the course of three tumultuous decades, 1965 – 1989, is realistic.

Hopeful in the 1970s but disillusioned in the 1980s, Heidi continues to search for what matters. She is passionate about women artists, informing students of neglected painters and their achievements in a man’s world. That she is fierce about – and good at teaching.

Owning her hard-fought choices, she eventually eschews the super-woman stereotype of yuppie-ism in favor of humanism, individualism and the road she wants to travel. In a discerning performance, Baker displays strength, vulnerability and intelligence.

Emily Baker, Joel Moses. Photo by Jon Gitchoff

The post-war Baby Boom generation known for navel-gazing and its cultural and societal impact has been analyzed many times, but this is one single woman’s voyage that resonates, and compassion is key.

Wasserstein’s atmospheric look back highlights specific years and events that everyone born between 1946-1964 has etched somewhere in their memory, starting with the agony of a teenage mixer then moving on to college activism, displaying the youthful optimism that presidential candidate Gene McCarthy, who opposed the Vietnam War, sparked in 1968.

That sets the tone for the significant characters who come in and out of Heidi’s life. Her first romance with a smooth-talking heartbreaker, the radical journalist Scoop Rosenbaum, leads to much second-guessing.

As the once-and-future womanizer who sells out for position and money, Joel Moses brings out Scoop’s brash, cocky and opinionated qualities, but also his charm. He winds up a prominent magazine editor who dines at Lutece and steps out on his wife, a children’s book illustrator and mother of his two children. But he and Heidi have always had a testy but candid connection.

Cutting a rug. Will Bonfiglio and Emily Baker. Photo by Jon Gitchoff.

The one constant male in her life is stand-up guy Peter Patrone, a gay pediatrician she met when they were young, and they instantly bonded over snappy repartee. Will Bonfiglio adds nuance to the earnest doctor, for they don’t ignore the scariness and worry during the AIDS epidemic. He shares his concerns with sympathetic Heidi.

Wasserstein selected touchstones as turning points. Her militant feminist friends gather for urgent consciousness-raising (IYKYK) during the growing women’s movement. They also attend baby showers and weddings.

The tides change when her successful friends that once rejected materialism to emphasize social responsibility now care about being seen and embrace status symbols in the 1980s.

Kelly Howe is delightful as Heidi’s trendy best friend Susan Johnston, who knows how to flirt and roll up her skirt in the school gym, throws herself into activism, then achieves major success as a Hollywood producer. They no longer have much in common but past loyalty.

Courtney Bailey, Paola Angeli. Photo by Jon Gitchoff.

Besides the four main actors, there are four others who capably play 16 supporting roles. Courtney Bailey and Ashwini Arora provide much comic relief, most notably Bailey as mother-to-be Jill and Scoop’s bride Lisa.

Arora is amusing as April, a vapid preening TV host, but as radical lesbian Fran, ready for liberation – or unleashing – in society, she is hilarious. “Either you shave your legs, or you don’t,” she says at the women’s meeting.

Wearing New Wave shoulder-padded power suits and colorful attire, Paola Angeli is a hoot as Susan’s and April’s assistants, and in the female gatherings as a friend. In addition, Bailey is Debbie and Arora plays Molly and Betsy.

Joshua Mayfield smoothly tackles five parts, including schoolmate, activist, waiter and boyfriends.

One of the funniest scenes is a morning talk show set, with guest appearances by Scoop, Peter and Heidi on “Hello, New York,” and how they handle the host’s superficial questions. The trio’s body language says so much about their characters.

The politics, music and fashions convey Heidi’s rapidly changing world and Schwetye’s vision is a keen lens into the time. She served as sound designer too, and her selections are a superb life soundtrack.

Joshua Mayfield, Emily Baker. Photo by John Gitchoff.

Showcasing seminal moments, like Nixon’s resignation in 1974, John Lennon’s murder in 1980 and the Berlin Wall being torn down in 1989, sets the moods. Kareem Deanes handled the demanding video projections with flair and Michelle Friedman Siler’s costumes splendidly define the personalities and the periods. It was as if she raided my old closets.

Inventive scenic designer Patrick Huber expertly handled the demands of apartments, Plaza Hotel, pediatric ward, restaurant and TV studio with nifty features. He also skillfully designed the lighting. Props supervisor Katie Orr did a swell job gathering items to decorate a doctors’ waiting room and gift-wrapped baby presents.

By the time we get to Heidi’s speech, “Women, Where Are We Going?” at an alumnae luncheon where she is the keynote speaker, she wants to cut through all the greeting-card platitudes that have ruled the narrative for all good girls. It’s an honest outpouring, sharing frustrations, aggravations and confusion.

Women of The Me Generation wanted it all but discovered there were personal costs and sacrifices to be made. Yet, found that forging one’s own path was possible. At last, Heidi chooses herself – and also finds comfort in knowing her friends have become her family.

Wedding reception guests Kelly Howe, Ashwini Arora. Photo by Jon Gitchoff.

Not seen on a local professional regional stage since The Repertory Theatre of St. Louis in 2007, this was a welcome reminder of the past, present and possible future.

With its potent performances and humor shaped through flawed characters, sarcastic remarks and uncertain times, this “The Heidi Chronicles” unequivocally states its relevance.

One glorious takeaway is that contemporary women’s roles are ever evolving, and when it seems that progress is stymied, we should remember we stand on the shoulders of giants, and can lead the charge into the future supporting uncommon women of any age and their choices.

The New Jewish Theatre presents “The Heidi Chronicles” from May 29 to June 15 at the Wool Studio Theater, 2 Millstone Campus Drive, Creve Coeur, Mo. Performances are on Thursdays, Saturdays, and Sundays. There is an additional show on Wednesday, June 4. Show times and tickets are available online at newjewishtheatre.org or by phone at 314.442.3283. NJT’s 2025 Season is generously sponsored by Mary Strauss. The play is 2 hours and 15 minutes long, with a 15-minute intermission.

Sunday, June 8 – Post-Show Talkback with the Director and Cast. Join members of the cast and crew following the 2pm performance for an engaging post-show discussion on the creation of NJT’s special production.

Emily Baker. Photo by Jon Gitchoff.

Duo’s Vigorous Work Grabs Hold in Albion’s Witty Drama ‘Lungs’

Duo’s Vigorous Work Grabs Hold in Albion’s Witty Drama ‘Lungs’

By Lynn Venhaus

With its emotionally rich storytelling, “Lungs” demands much from Joel Moses and Nicole Angeli, who fearlessly tackle those challenges in their finely chiseled performances as M and W.

As a couple linked through many years, the pair have seamlessly plumbed the depths of human nature to expose raw nerves, painful truths and tender intimacy. They start out as young lovers – enlightened, independent thinkers — figuring out their life together and separately, then acquire experiences and perspective, increasingly uncertain of tomorrow.

Because of their fluent reactions to developing relationship situations, you hang on to every twist and hairpin turn of daily living in this offbeat, unconventional drama that is laced with humor – and just may elicit a tear or two.

Under director Ellie Schwetye’s shrewd guidance, the duo has created such a level of comfort that it appears to unfold spontaneously, in real time. Their mental acuity, verbal dexterity, and agile physicality is astonishing, as is Schwetye’s modulated pacing.

Angeli and Moses are on stage the entire time, being honest and open, overthinking their lives as developing people on a planet in crisis. They reveal their flaws as they personify their genders – as they interpret the assignment. She’s more neurotic, but also empowered; he’s more even keel, but willing to adjust and can jump in, then deal with consequences. And you never doubt their sincerity.  

Duncan Macmillan’s thoroughly relatable two-hander play confronts making grown-up decisions that change your life’s trajectory — the small moments and the big milestones, the planned and the unplanned.

A recurring theme concerns current global environmental and climate changes underway. With such issues as carbon footprints, depletion of natural resources, and overpopulation being real dilemmas, M and W debate bringing children into the modern world. Is it reckless, risky or responsible – and are they ready?

The setting is various locations in the south of England, over a period of many years. Macmillan’s not so much obsessed with pollution as he is focused on communication as citizens of the world and our place in it.

The sagacious Albion Theatre is closing out its second full season with this penetrating production after entering the regional professional theater scene in 2022. Its mission is to present British playwrights (with forays into other United Kingdom territories and Ireland), mainly highlighting social, political and cultural influences.

This is their most contemporary effort to date. A Gen X’er, Macmillan was born in England.

Photo by John Lamb

Schwetye has minimally staged this 105-minute play without intermission, using Erik Kuhn’s bare set design that features two sloping slabs and a stationary middle. Her crisp sound design and Tony Anselmo’s natural lighting design keep that aesthetic, as does one casual costume design each by Tracey Newcomb. CJ Langdon did double duty as assistant director and stage manager.

The actors, both St. Louis Theater Circle Award winners, color in the rest – their ages, places and times in the ebb and flow of their lives. W is a Ph.D. grad student; M is a musician when they’re introduced in a ‘queue’ at Ikea. The team seasoned the material well, emphasizing the beats of Macmillan’s on-the-nose prose for optimum effect.

Macmillan’s 2013 play, ‘Every Brilliant Thing,” is in the same lane as “Lungs,” examining the complexities of modern living. It’s been staged several times in St. Louis, including a production Schwetye directed for New Jewish Theatre in spring 2023. The playwright is exceptionally articulate about being human, fretful and striving for goodness.

This match-up feels like five sets of championship tennis on Wimbledon’s Centre Court. Surely the intensity would exhaust both actors, but they seem invigorated. By the time Angeli and Moses bittersweetly wrap up this story, the audience has been through a tsunami of ‘feels,’ and all earned.

“Lungs” is not injected with any artificial sweeteners or saturated fat, and the play’s lean, muscular style is riveting. You may not have figured these two people out by the conclusion, but you know them, and are in awe of the actors’ ability to just ‘be,’ no pretense.

With such an articulate, sharp-witted piece, I am reminded that, for all our modern worries, above all, we get to carry each other.

Albion Theatre presents “Lungs” Oct. 18 to Nov. 3, with performances Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at the Kranzberg Black Box Theatre, 501 N. Grand Blvd., St. Louis, MO 63103. For more information, visit www.albiontheatrestl.org.

Lively Ensemble Ignites ERA’s Kooky ‘Romanov Family Yard Sale’

Lively Ensemble Ignites ERA’s Kooky ‘Romanov Family Yard Sale’

By Lynn Venhaus

It really is a yard sale and a play rolled into one kooky experience. A Masha! Masha! Masha! mash-up of absurd comedy and history, “Romanov Family Yard Sale” is another unconventional offering from ERA (Equally Represented Arts) Theatre, always pushing whatever envelope they think needs a prod.

All tchotchkes must go so that these survivors, pushed out of power during the Russian Revolution, can flee abroad. Explained as a “purgation play told in three demonstrations,” we travel back in time to July 1919.

These chapters identify the quirky focus: “Capeetalism,” “The Church of the Great Babooshka,” and “Independence Day.” Life, as they knew it, is over, and their future is scary, given the recent past and unmoored present.

This takes place exactly one year after the last Russian Tsar, Nicholas II, was executed, along with his wife, Empress Alexandra, and their children – grand duchesses Anastasia, Maria, Olga and Tatiana, and only son Alexei, a hemophiliac.

Their distant cousins want to escape to the U.S., with hopes of American filmmakers publicizing their plight. Chrissy Watkins, as very serious Dody, and John Wolbers, as a determined Kirk, arrive with their video cameras, and receive an enthusiastic royal welcome.

This part is fictionalized, but the House of Romanov really ruled imperial Russia from 1613 to 1917, until forced to abdicate and placed under house arrest by those Lenin-led Bolsheviks. That’s when the Iron Curtain came down as the Communist Party took over.

The play’s setting is in a former Tsar-sponsored theater wrecked by those revolutionaries. The loyalists warn us not to sit in a red chair, or we may be shot.

Frustrated by their predicament, they express themselves as people clinging to their old way of life. But they are also protective of each other, like families are.

You might feel like you are entering a reality TV zone. Prior to the performance, tables and racks are laden with goods that are later made available in the lobby. And the cast is already in character, hawking their wares and advising on what to do.

They are really pushing the ‘Baby Beans,” aka plush toy animals that look like the Beanie Babies popularized in the 1990s. There is no such Beanie Baby Bubble Burst in their world.

Ellie Schwetye as Little Yelena.

Using convincing thick Russian accents, aided by dialect coach Keating, an all-in repertory of regular ERA interpreters and other veterans dance, prance, bicker and sing “Take Me Out to the Ballgame” like they are putting on a pageant for their wannabe home in exile.

As part of this eccentric ensemble, they offer us bread, vodka shots, and Anastasia’s hand in marriage while trying to purge all their possessions.

They will collect tickets, and people do walk out with stuff (they even have a basket of plastic bags to carry purchases). Need a VHS copy of “Waterworld” or a well-worn romance novel?

It is not a prerequisite to brush up on Russian history to understand the story, but if you recall a basic outline, and recognize a Faberge egg, you’ll find Courtney Bailey’s clever original play even more amusing. And while the acting is mostly for laughs, their characters’ despair does peek through.

Adam Flores offers a touch of poignancy as bereaved Cousin Alexi, waltzing with his deceased wife, Cousin Katrina (a skeleton often guided by Bailey)..

Lucy Cashion, director and ERA mastermind, is adept at making classic literature structures fresh with unique twists and divergent perspectives.

She keeps the characters swirling so the action is swift, although a tad chaotic at times with 15 people on stage. Resourceful, she also designed the set and the sound and was the video editor.

She last tackled Russia in a Chekhov-inspired “Moscow” drinking game and one-act play produced for the St. Louis Fringe Festival in 2015, and again as a whimsical red-soaked Zoom play fundraiser in 2020.

Bailey, who wrote the imaginative “Bronte Sister House Party” for SATE in 2022, Best New Play Award from the St. Louis Theater Circle, has created another fertile playground for her latest effort.

Last year, the pair humorously combined the John Hughes Brat Pack comedy “The Breakfast Club” with a Bertold Brecht pastiche – and nod to Cold War spies in an East German political satire called “The Brechtfast Club.”

Inspired by Southern yard sales and pop culture touchstones, whip-smart Bailey has inserted references to the 1975 “Grey Gardens” documentary through very funny portrayals by Rachel Tibbetts as Big Yelena and Ellie Schwetye as Little Yelena, a perfect pairing.

She also credits the 1997 Dreamworks animated feature “Anastasia,” the “Independence Day” blockbuster movie from 1996, and Episode #822 of NPR’s “This American Life.” And apparently, Kate Bush’s 1980 song (also misspelled title) “Babooshka” was an influence.

Alicen Moser as Pigbat and Cassidy Flynn as Rasputin.

The spry large cast, some of whom were in “The Brechtfast Club” and The Midnight Company’s recent “Spirits to Enforce” that Cashion directed, includes characters you might recognize from their historical significance.

For instance, always hilarious Cassidy Flynn is Rasputin. He makes a dramatic entrance, in a stringy raven-haired wig with a shock of a silver streak, and black garb, as the controversial figure – charlatan or mystic, visionary and faith healer?

His sidekick, Pigbat, is played in disguise by Alicen Moser. I did not fully understand that character’s purpose, possibly only to add sight gags as she flaps her white Russian wings?

Ashwini Arora has fun toying with the public mystery of princess Anastasia – who may be dead or may be an imposter, or who might actually have escaped. That tale has been the subject of movies, plays and musicals, so the ERA collaborators incorporate the legend and surrounding confusion.

Three strong actresses play sisters named Masha like they are part of the Brady Bunch (of course!) – Celeste Gardner, Kristen Strom, and Maggie Conroy are engaging maidens, who can be kinda bitchy too, moving in unison.

They are outfitted in distinctive peasant garb, which displays the fine handiwork of costume designer Marcy Wiegert.

Exaggerating stereotypes, Miranda Jagels Felix is a hunched over and very worried Aunt Babooshka, wearing the traditional kerchief tied under the chin, and deep-voiced Anthony Kramer looks like a member of the politburo with a tweedy jacket and a thick mustache (that had trouble staying on) as Uncle Boris. He is obsessed with eggs, a running joke.

Multi-hyphenate Joe Taylor is this production’s Most Valuable Player, as he not only composed an interesting original cinematic-like score, but also plays the keyboard, and performed as “A Choir of Raccoons.”

He was the cinematographer for a black-and-white old-timey film called “The Last of the Romanovs” that is played at the conclusion. And added AV technician and music director to his chores, too.

As much as I enjoy watching this collective perform, and I consider their “Trash Macbeth” in 2016 one of the all-time treasures in local theatre, this play is too stretched out and would work better condensed into one act, not two.

A little nipping and tucking would heighten the ‘oomph’ that it achieves intermittently. As funny as Flynn is onstage, and the devilish Rasputin is in his wheelhouse, the middle “Church of the Great Babooshka” segment slumped when it went off on religious tangents, especially the communion.

Admittedly, the wedding ceremony, and plucking a game groom from the audience, was confidently handled, and the revelry was fun. Time for a daffy dance break!

The audience seemed to lean in to all the goofiness that ensues, even if it wasn’t always clear what was happening in this universe that teetered between fantasy and reality.

When you have that much assembled talent, it’s hard to find everyone a moment or two to shine, but they sure had a blast together as a tight-knit unit. These are swell collaborators who make the tiny but mighty ERA standout in the local landscape.

The show is co-produced by Cashion, Felix, Will Bonfiglio, and Spencer Lawton, who also effectively stage-managed. They are fully committed to surprising patrons and making sure their presentations offer something different.

Crisp work by Emma Glose as tech director and Denisse Chavez as lighting designer is also notable.

With their avant-garde experimental nature, inventive ERA always sparks ideas, and they gather the talent to pull off even the most peculiar material. No matter what, they are conversation starters.

ERA Theatre Presents “Romanov Family Yard Sale” from July 4 through July 20, Thursdays through Sundays, at 8 p.m. at the Kranzberg Arts Center (Blackbox theatre), 501 Grand Blvd., St. Louis, MO 63104. It is recommended for audiences age 21+. For more information, visit www.eratheatre.org, For tickets, metrotix.com.

Comical Family Dynamics Mark New Jewish’s Heartfelt ‘We All Fall Down’

Comical Family Dynamics Mark New Jewish’s Heartfelt ‘We All Fall Down’

By Lynn Venhaus

Whether you have a family that always puts the ‘fun’ in dysfunctional or is going through a temporary rough patch, you will find something relatable in Lila Rose Kaplan’s crowd-pleasing comedy-drama “We All Fall Down.”

Nowhere is an extended family’s quirkiness more apparent that at a holiday gathering, and this setting is a Passover seder with the Jewish but non-practicing Steins coming together.
 
The territory navigated is both familiar and foreign. When the playwright’s wit, director Rebekah Scallet’s finesse, and the cast’s crisp comic timing percolate on all cylinders, it’s splendid.

Yet, there is a busyness that comes across as somewhat annoying. The seven characters are all pre-occupied, with the parents and two grown adult children overstuffed with personality peculiarities, and the three guests underdeveloped. Perhaps some trimming would have made it feel less congested.

While the resolution is heartfelt, it doesn’t feel as genuine or as earned as it could be, for the relationships are complicated, and the revelations feel rushed.

As we all know, often when people try too hard to make a celebration joyful, it fails to meet expectations because of uncooperative moving parts.

Add befuddlement as to why this festival is happening now when it’s never been a big deal, which adds a layer – and everyone is in various degrees of a tizzy.

While psychologist and family therapist mom Linda (Mindy Shaw), history professor dad (Alan Knoll), yoga instructor daughter Ariel (Hailey Medrano), feminist activist-educator daughter Sammi (Bridgette Bassa), sarcastic aunt Nan (Jenni Ryan), a sweet but sensitive friend Bev (Bethany Barr) and an efficient assistant Ester (Taijha Silas) are preparing for this specific meal with their own ‘to-do’ lists, wackiness ensues, and universal truths give way.

Mindy Shaw, Hailey Medrano. Photo by Jon GItchoff.

In Judaism, Passover commemorates the Hebrews’ liberation from slavery in Egypt, sparing the first-born of the Israelites on the eve of the Exodus. There are specific rituals handed down through generations, and Kaplan deftly explains traditions to those of us not in the know.

Those of other faiths can identify with their own heritage’s touchstones while the evergreen themes of people growing older, and children growing up strike chords.

The ensemble meshes well, conveying all the stress, resentments and aggravations that a holiday represents, but also their unique family dynamic and relationships. As in real life, a delicate balance between mothers, fathers, daughters and sisters is always shifting.

Sunrise, sunset
Swiftly fly the years
One season following another
Laden with happiness and tears

Knoll, whose performances are always lived in and first-rate, has shaded Saul with convincing layers, coming across at first as good-natured but concealing a troubled soul.

His memory is fading, and he’s confused, disconnected, and not understanding what’s happening, although he’s trying to cling tight to his routines.

His patterns are being interrupted by all the hubbub, and glimpses of what’s happening begin to be noticed by the others when they start paying attention. Most everyone is in their own little bubble and must eventually find the compassion they need at this moment. Frustrated, he won’t admit or can’t come to terms with his cognitive decline.

Alan Knoll, Bridgette Bassa, with Jenni Ryan in background. Photo by Jon Gitchoff.

Those who’ve witnessed a loved one lose parts of themselves through Alzheimer’s disease or other forms of dementia can recognize the symptoms that Kaplan astutely presents.

A flustered, frantic melodramatic wife and mother, Linda is played as a demanding perfectionist with nervous energy by the lissome and facile Mindy Shaw.  

This bossy control freak and bestselling author has a hidden agenda that keeps everyone guessing as to why she’s going to all this trouble. She’s a little kooky dressing up in costumes and flitting about.

Her two daughters, with secrets of their own, are focused on their problems and not why their dad may have retired early, why he’s drinking so much, or why mom’s making the signature dishes for what an old neighbor describes as “Jewish Easter.”

As adult daughters, Bassa and Medrano affect a realistic sibling rivalry and dissatisfaction with their current paths. Intelligent and limber performers, Bassa and Medrano bounce off each other like women with a history, and their rhythm is naturalistic.

There is an undercurrent of tension that may be connected to their mother’s book “Mothering Difficult Children”,” which is a hoot.” (What a great title!).

Ryan plays Saul’s outspoken sister, Aunt Nan, a part that seems straight out of sitcom land, as does Barr’s Bev, an empty nester who once lived across the street.

Silas has a nice turn as Linda’s graduate assistant who is tasked with singing “The Four Questions,” and does so beautifully.

Taijha Silas as Ester. Photo by Jon Gitchoff.

The two-story suburban home setting designed by Andrea Ball is a marvel of functionality and comfort. The kitchen is stocked with all the necessary ingredients and tools to make Kugel and matzo balls, and the girls’ childhood bedroom becomes an oasis (as does a bathroom).

The technical design work is as admirable as ever, with Michael Sullivan’s lighting design and Michelle Friedman Siler’s costume design both stellar components. Cecille “Cece” Entz’ prop work is noteworthy — an appealing mix of years of clutter.

Ellie Schwetye’s sound design is always significant, and this time her mix tape choices are interesting — especially the specific “War of 1812 Overture” that’s in the script.

Kaplan crafted this play with heart. Originally produced in 2020 in Boston, this presentation is the regional premiere in St. Louis. She has a flair for tackling issues from a woman’s point of view, which is refreshing. However, the tone shifts several times, which happens when the material is both a comedy and a drama.

Scallet, also the artistic director, has helmed this show in a light-hearted way, even though the theme is heavy – parents must be taken care of even when you can’t take care of yourself

She and the playwright met years ago when Scallet was directing Kaplan’s play “Catching Flight,” which was part of a new play development program, and became friends.

The main takeaway is that traditions should be appreciated and familial love is the foundation of life. Whatever our families are going through, we can lean on each other for comfort and strength. All families deal with loss, lose their way, and re-emerge with new customs, yet never forgetting those who have passed.

Memories are made, and passed on through generations — simple yet profound.

Alan Knoll, Jenni Ryan. Photo by Jon Gitchoff.

The New Jewish Theatre presents “We All Fall Down” from May 30 to June 16 at the JCCA’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis. The play is 95 minutes without an intermission. Performances are Thursdays at 7:30 p.m., Saturdays at 4 and 8.p.m., and Sundays at 2 p.m. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

Special Note: Scallet will host two additional talkbacks with show audiences on Saturday, June 14 following the 4 p.m. performance, and on Thursday, June 6, following the 7:30 p.m. performance.

Photo by Jon Gitchoff.

Spontaneity is Key to ‘White Rabbit, Red Rabbit’ Absurdist Adventure

Spontaneity is Key to ‘White Rabbit, Red Rabbit’ Absurdist Adventure

By Lynn Venhaus

Think of it as ‘80s performance art meets a ‘60s Be-In. An experimental “happening” play, “White Rabbit, Red Rabbit” by Nassim Soleimanpour, is being presented by the Black Mirror Theatre Company for a brief four-performance run just to do something different.

And unique it is – interactive with the audience and performed without a set, director, or rehearsals. A different actor reads the script cold – for the first and last time – at each performance, and their name goes on a list so that they can never perform it again.

If it sounds fringy, it appeared at the St. Louis Fringe Festival in 2021.

When he was 29, Soleimanpour was forbidden to leave his country, Iran. He can’t leave because he is a conscientious objector who has refused to take part in mandatory military service. Barred from travel, he turned his isolation into an absurdist theatrical experience that brings actor and audience together through uncharted terrain.

But above all, it’s his voice, coming through different actors.

On opening night, Jarek Templeton was the actor who opened the script that had been sealed in a manila envelope and given to him by producer Michelle Zielinski. He then read the pages in a folder as instructed. He immediately took control and guided audience members on what they had to do, and he performed the actions the playwright requested.

Because of its unusual structure, the focus is on how the performer handles the on-the-fly aspect and tapping into the innovative playwrighting. The audience was game – applauding and participating when called upon.

On Friday, Evan Turek will be the actor, Dorothy LaBounty on Saturday, and Ellie Schwetye on Sunday.

Part comedy, part drama, the playwright is involved in each production – he communicates with notes to the people involved in putting on the show. They were told 48 hours before the show to have water on stage, and two glasses.

It may start out light-hearted, or a bit daffy, but included are some serious topics to mull over. Because of its spontaneity, the less you know going in, the better.

The Black Mirror’s earnest commitment to creating interesting theater took a leap forward with this intriguing concept.

The Black Mirror Theatre Company presents “White Rabbit/Red Rabbit” on association with Aurora Nova Productions and Boat Rocker Entertainment Nov. 2-5 p.m. at 7 p.m. Thursday, Friday, and Saturday, and 2 p.m. on Sunday at The Chapel, 6238 Alexander Drive, St. Louis, MO 63105. For more information, visit blackmirrortheatre.org

More information is also available” https//www.facebook.com/WhiteRabbitRedRabbit

Jarek Templeton, Michelle Zielinski after first performance. Photo by Lynn Venhaus.

A Fun Frolic, ‘This Palpable Gross Play’ is Imaginative Take on Shakespeare’s ‘Midsummer Night’s Dream’

A Fun Frolic, ‘This Palpable Gross Play’ is Imaginative Take on Shakespeare’s ‘Midsummer Night’s Dream’

By Lynn Venhaus

With full moon magic this week, step into the unique and absurd world created by the imaginative minds at SATE ensemble theatre for “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream.”

It’s Shakespeare flipped inside out, an end-of-summer trifle that follows SATE’s award-winning “Bronte Sister House Party” last year and Equally Represented Arts (aka ERA) with their thoroughly clever “The Residents of Craigslist.”

This ensemble is an appealing, adroit, and gifted group that is fully committed to appearing as if they are self-absorbed, clueless, temperamental, needy, and incompetent actors as the Mechanicals, in addition to feuding royals, and mismatched lovers.

The Mechanicals. Photo by Joey Rumpell.

The innovative Lucy Cashion, in a class all by herself, directs here with a touch of whimsy and a focus on the quirky. She is particularly good at dissecting classics and putting her own spin on them, such as “Trash Macbeth” in 2016 for ERA (St. Louis Theater Circle Award for directing) and “Oedipus Apparatus” for SATE in 2017.

She teams up here with the multi-hyphenate Ellie Schwetye, a distinctive writer also good at different takes on Jane Austen (“First Impressions,” St. Louis Theater Circle Award for Best New Play in 2018), who has adapted this version of Shakespeare’s beloved 16th century comedy.

Normally, the play starts with royal wedding planning, gets sidetracked with love potions and mixed-up pairings, and features a troupe of inept actors rehearsing a play as the special occasion entertainment. Instead of being the side hustle, the Mechanicals have the spotlight, and they shine in all their peculiar glory.

So, dive into their world, not knowing where you will go. You may think you know this play, but here, they’re steering the ship into uncharted, yet kinda familiar, waters. And that’s the fun of it.

The Mechanicals are referred to as skilled manual laborers, and others look down on them. But for this amateur troupe, there’s no way to go but up. Kayla Ailee Bush is bellows-mender Francis Flute, Andre Eslamian is weaver Nick Bottom, Anthony Kramer Moser is joiner Snug, Joshua Mayfield is tinker Tom Snout, Ross Rubright is tailor Robin Starveling, and Kristen Strom is carpenter Peter Quince, the director. Strom’s presiding over the circus as if she’s Orson Welles directing the Mercury Theatre.

Victoria Thomas and Ross Rubright. Photo by Joey Rumpell.

Moser is very funny getting into his lion role, and with the others, their idiosyncrasies emerge as they develop the characters for the tragic love story of “Pyramus and Thisbe,” set in Babylon. Andre Eslamian plays Bottom as an insufferable know-it-all. Joshua Mayfield’s Tom Snout is perturbed about how he’s moved around, and so is Kayla Ailee Bush’s Francis Flute. (The sextet is so bad, the audience thinks it’s a comedy). Master thespians, you know.

Well, they may be delusional, but they are giving it their all as they prepare to mount the play-within-a-play, hopeful of entertaining at Theseus and Hippolyta’s royal wedding. Of course, they question their parts, bicker with castmates and Quince, trying to get the attention they need and ‘deserve.’  

Now, in context, we don’t see Theseus and Hippolyta here, but they are the toast of the town, as he is the Duke of Athens and she is the Queen of the Amazons.

I digress.

Puck/Robin Starveling (Ross Rubright), Titania (Victoria Thomas) and Oberon (Spencer Lawton) are outfitted to look like old-timey movie stars of the silent era, extras in “The Great Gatsby,” or maybe Puck is the bartender in “The Shining.”

They have an aristocratic air, and wear Liz Henning’s gorgeous period attire beautifully. As the king and queen of the fairies, Titania and Oberon are estranged and feuding, and Thomas and Lawton make that obvious, as if they are reciting lines in a Noel Coward play.

In another flip, Oberon falls in love with Bottom, who’s now costumed as a donkey. Hee-haw! Eslamian and Lawton display deft physical comedy skills during this turn of events.

Oberon and Bottom. Photo by Joey Rumpell.

Dapper in tails, Ross Rubright introduces himself as Robin Starveling as he welcomes the audience. The tall Rubright is visually striking, and then he begins his contrasting monologues, as if auditioning, and reads a commercial for Lunesta, a prescription sleep aid, including a long list of side effects. It sets the mischievous mood beautifully.

Rubright may not be sprite-size, but as Puck, he smoothly moves around creating dazed and confused mayhem with his lantern, wafting potion, and magic powers.

That iconic butterfly logo will be referred to several times and its shimmering wings used in another ‘wow’ vision from Henning.

Now the star-crossed lovers make an appearance too, as the cast doubles roles: Hermia (Bush), Lysander (Moser), Helena (Strom), and Dementrius (Mayfield). In Shakespeare’s original, Hermia is in love with Lysander, but her father wants her to marry Demetrius, who is in love with her, but Helena is in love with him. It’s complicated.

The creative team is first-rate, too, with Erik Kuhn’s atmospheric lighting design noteworthy. Joe Taylor’s original music score is a delightful throwback to such ‘30s styles as “Moonlight Serenade” and Cole Porter.

 Cashion and Schwetye collaborated on the scenic design – a summer house’s study where Titania and Oberon are ensconced, and use front space for the woodland where rehearsals are staged. Jimmy Bernatowicz, the stage manager, and Rachel Tibbetts, the co-producer, also contributed to the overall experience.

The Mechanicals. Photo by Joey Rumpell.

The play has a fantasy quality reminiscent of the 1935 movie, which is mesmerizing in its depiction of the glistening fairies frolicking in the forest created through rudimentary visual effects back then. (The casting is memorable too – James Cagney is Nick Bottom and Mickey Rooney is Puck!)

“This Palpable Gross Play” is tantalizing with its witty take on illusions and theme of metamorphosis. The folly is fun, thanks to the harmonious cast and crew’s efforts. Adventurous theatergoers can applaud their good fortune at seeing a fresh interpretation of an enduring classic.

Note: The script of “This Palpable Gross Play” will also receive productions with Clayton High School and with Prison Performing Arts.

SATE is presenting “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream” Aug. 16 through Sept. 2, with performances Wednesday through Saturday at 8 p.m. at The Chapel, 6238 Alexander Drive. It is 90 minutes without an intermission. Tickets are $25 and can be purchased through Eventbrite. For more information, visit www.satestl.org.

Photo by Joey Rumpell.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE presents the Seventh Annual Aphra Behn Festival, May 5-7, 2023, at Fontbonne University. Performances are at 8:00 PM on Friday, May 5 and Saturday, May 6. Performance on Sunday, May 7 at 4:00 PM.

When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.

The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, Or, by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, The Rover, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. The Rover was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy.

This year’s list of ingredients for plays to be submitted in the 2023 Festival challenged the writers to re-tell, adapt, or respond to one of the plays on Hedgepig Theatre Ensemble’s Expand the Canon list (www.expandthecanon.com) SATE hosted readings of all three “Re-Told” plays on February 19, March 19, and April 30.

2023 Festival Plays

Bold Stroke for a Villain by Summer Baer
Directed by Emma Glose
Inspired by Hannah Cowley’s Bold Stroke for a Husband
Performed by Gabrielle Lynn, Jaelyn Hawkins, Greta Johnson
Welcome to purgatory! Victoria, condemned to an eternity of reflection, attempts to call into the void to someone she wronged but gets Elle Woulds instead.

Lieblingstante, by Aurora Behlke
Directed by Kayla Ailee Bush
Based off The Uncle by Princess Amalie of Saxony
Performed by Maida Dippel, Michael Pierce, and Leslie Wobbe
Julius introduces his girlfriend to his aunt Claudia. Who knows where the conversation may go after one or two (or four) glasses of wine.

reANIMA by Aly Kantor
Directed by Britney N. Daniels
A speculative subversion of Amelia Rosselli’s Anima
Performed by Keating and Taylor Kelly
Cricket totaled her meat vessel at a party—but not to worry! Her best friend has an industry hookup and made her a brand new one with all the bells and whistles she could ever want (and a few she’s slightly reluctant about). Now everything can get back to normal…right?

PRODUCTION ENSEMBLE
Stage Manager: Spencer Lawton
Costume Design: Liz Henning
Lighting Design: Michael Sullivan
Graphic Design: Dottie Quick
Photography: Joel Rumpell
Set/Props Design: Rachel Tibbetts, Ellie Schwetye
Sound Design: Emma Glose, Ellie Schwetye
Intimacy Coordinator: Rachel Tibbetts

‘Every Brilliant Thing’ Engages with Warmth and Empathy

‘Every Brilliant Thing’ Engages with Warmth and Empathy

By Lynn Venhaus
With his childlike wonder, boundless energy, warm smile, and ability to never know a stranger, Will Bonfiglio uses his talent for good in the uplifting one-person show, “Every Brilliant Thing,” now playing at the New Jewish Theatre.

Running one tidy hour, this humorous and touching personal reflection on life and loss can be interpreted many ways.

What started as a performance piece and installation art project around a decade ago grew into a Facebook group where people listed their own “brilliant things,” and productions have been mounted all over the U.S.

The one-act play was first produced in England, at the 2013 Ludlum Fringe Festival, and started out as a short story called “Sleevenotes” by Duncan McMillan. For the stage, he involved comedian Jonny Donahue, who was filmed for the 2016 HBO presentation.

Bonfiglio plays Sam, the adult son of a mother whose chronic depression altered his emotional development and life perspective.

What do you do when you are six years old, and your mother is in the hospital for attempting suicide? The lead character started a list of everything beautiful and wondrous about the world. He/she left it on their mother’s pillow. And thus, began life-long list-making giving us hope about what makes life worth living.

In this production, Bonfiglio engages by relating the challenges of life. Through the identifiable list, he finds light amid depression’s darkness.

  1. Ice cream.  2. Water fights 3. Staying up past your bedtime and being allowed to watch TV.  4. The color yellow

The list is as broad as 11. Bed and 1006. Surprises, and as specific as 2390. People who can’t sing but either don’t know or don’t care, and 1654. Christopher Walken’s voice.

The list eventually grew to a million, with entries as clever as 123321. Palindromes, as funny as 7. People falling over, as adorable as 575. Piglets, as pleasurable as 9997. Being cooked for, and as nostalgic as 315. The smell of an old book.

That list turned into a lifeline during adolescence, college, marriage, and bumpy roads, eventually leading to peace and acceptance.

Bonfiglio plays Sam as vulnerable yet strong, resonating as someone who feels helpless when they can’t protect, control, or prevent family members from harm.

He has re-teamed with director Ellie Schwetye after working on “Fully Committed” in 2019, which earned him his third St. Louis Theater Circle Award for Leading Performer in a Comedy, Male or Nonbinary Role. He previously won for “Buyer and Cellar” and “Red Scare on Sunset,” both at Stray Dog Theatre.

They have both worked together in SATE (Slightly Askew Theatre Ensemble), where Schwetye is a producer, and ERA (Equally Represented Arts)., among other companies.

They are both expert collaborators. In this project, their ability to focus on joy through communal storytelling and create community reaffirms the power of theater.

 Essential elements include audience interaction and participation, which makes the show unpredictable and improvisational. Bonfiglio tells a few people what to say and where to move in a charming way, while others just are called on to read a lead entry. (If you do not want to participate, no one will force you).

Schwetye keeps Bonfiglio on the move to all corners of the stage.

The technical elements are also superb, with Bess Moynihan’s outstanding lighting design and scenery work with the list items hanging in different hand-written notes making the message simple yet profound.

Schwetye is also an award-winning sound designer, and because of her expertise selecting music, that helps make the music influential to the people in the story.

This play is more than a litany of favorite things, but a journey through turning points in life, which makes it special.

One of its life-affirming aspects is to not wait for moments, but let them in and be open to them.

Bonfiglio never feels less than real. And his kindness projects an openness to the event, for the hardest things to talk about are things we should talk about – and this play allows us to, for catharsis can come out of crushing sadness. Sam has earned this accomplishment.

There is information about mental health in the program, and this team knows of its importance. This production touches our lives in an interesting way — complex, but manifests beauty.

It is that understanding that you feel. And I am grateful.

The New Jewish Theatre presents “Every Brilliant Thing” March 16 – April 2 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, Tickets are available by phone at 314-442-3283 or online at www.newjewishtheatre.org.

‘The Christians’ Offers Outstanding Acting in Thought-Provoking Play

‘The Christians’ Offers Outstanding Acting in Thought-Provoking Play

By Lynn Venhaus
Playwright Lucas Hnath doesn’t ever flinch, and neither does his lead character, Pastor Paul in “The Christians,” an examination of faith and influence in a 21st century megachurch.

In an innovative move, the West End Players Guild is presenting this thought-provoking drama in the Union Avenue Christian Church, not their usual stage in the basement.

It’s just one of director Ellie Schwetye’s smart moves, and the setting adds an authenticity for this examination of faith and doctrine.

It’s not a typical megachurch plot, where there is often reason to deride piety. The characters are sincere, which makes it more powerful.

Pastor Paul has discarded his church’s traditional fundamentalist Christianity in favor of a more inclusive and universal Christianity. When he announces to his congregation that he has come to doubt a core belief – well, this does not go over well.

He thinks other religions have valid points. Oh, the horror. This rocks everyone to their core. Chaos will ensue.

Ten years ago, his church was a modest storefront, but now it houses thousands, with all sorts of amenities. It’s paid for, and all seems to be going well. How does one man unite a church – and then, suddenly, divide it? Can internal politics tear down things built up with love?

As Pastor Paul, Joel Moses digs deep, showing us his pain over his flock’s revulsion, and how those closest to him turn on him. He’s aghast, for while he expected this sermon to be controversial, the reaction stuns him. Their foundation – and relationships – will crumble before our very eyes.

As this unsettling drama unfolds, the cast is pitch-perfect, making sure each character is not black-or-white, but many shades of grey. Each has a crisis of faith, and this creates thought-provoking content. And interesting confrontations as they all seem at different crossroads.

Joseph Garner is impressive as the associate pastor Joshua, who must stay true to his values. Rachel Hanks is strong as Pastor Paul’s faithful wife Elizabeth — but begins to doubt so much about their relationship and work. And then loyal parishioner Jenny, played by a fiery Chrissie Watkins, must speak her truth. Michael Byrd has a small role as Elder Jay.

Hnath, a favorite of West End Players Guild, first produced “The Christians” at the Humana Festival of New American Plays in Louisville, Ky., in 2014. It premiered off-Broadway at Playwrights Horizons in 2015, and then had its Chicago premiere at Steppenwholf Theatre Company in 2016. He is the son of a minister.

Among its accolades – “The Christians” was nominated for two 2016 Drama Desk Awards, for Outstanding Play and Outstanding Actor in a Play, and then nominated for the 2016 Lortel Award for Outstanding Play and Outstanding Lead Actor in a Play. It won the 2016 Outer Critics Circle Award as Outstanding New Off-Broadway Play

This production is a St. Louis premiere, and is one of the strongest dramas of the year.

West End Players Guild presents Lucas Hnath’s The Christians Dec. 2-11 at Union Avenue Christian Church, 733 Union in the Central West End. For more information: westendplayers.org.

Photos by John Lamb