Stray Dog Theatre Triumphs With Poised, Polished Copland Opera ‘The Second Hurricane’

Stray Dog Theatre Triumphs With Poised, Polished Copland Opera ‘The Second Hurricane’

By Lynn Venhaus

A refreshing breeze is blowing through the cozy confines of the Tower Grove Abbey in Stray Dog Theatre’s ambitious youth opera, “The Second Hurricane,” and it’s a breath of fresh air.

An earnest, well-rehearsed ensemble – 12 youth choir members and 11 adult choir members accompanied by a 12-piece orchestra, are unified in song and spirit in this rarely performed piece by Aaron Copland, flawless in their harmonies and heartfelt interpretation.

The remarkable young performers are as poised and polished as the adults are, and the entire effort is impressive. Director Gary F. Bell and Music Director John Gerdes strived for the highest level of excellence of all involved, and their dedication shows.

Copland is known as the Dean of American Music for his distinct musical identity that evokes the American landscape and spirit. One of the most influential composers of the 20th century, he wrote this opera, his first, in 1937, specifically for schoolchildren.

During a career that spanned 60 years, Copland incorporated jazz, folk and classical music in his traditional themes, shaping an American voice, and connecting deeply with audiences.

The dynamic dozen – the mighty musicians of “The Second Hurricane.” Photo by Stray Dog Theatre.

Perhaps you’ve heard “Fanfare for the Common Man,” a 1942 orchestral piece commissioned as a tribute to World War II soldiers; “Rodeo,” a 1942 ballet choreographed by Agnes de Mille honoring the American West that includes the very recognizable “Hoe-Down” (Remember the “Beef. It’s What’s for Dinner” ad campaign?); and his symbolic 1944 ballet “Appalachian Spring” that features the iconic “Simple Gifts” melody. He won an Oscar for the film score to “The Heiress,” among other accolades.

Bell, a longtime fan, was part of the opera’s revival in 1985 for the composer’s 85th birthday celebration. Then a 21-year-old artist living in New York City, Bell was honored to be cast in the production at the Henry Street Settlement, its original site, and met Copland, who died five years later.

His impact on Bell was significant, and the SDT artistic director said this opera is very personal to him.

Inspiring this ensemble to achieve their full potential was important, and Gerdes, a respected local musician and educator, also attained new artistic heights with the choirs and conducting the superb orchestra. They both carried this off with precision and perseverance.

The entire creative cast and crew executed Stray Dog’s first opera splendidly with an appreciation of the material, and emotional storytelling that resonates. An unmistakable feeling of community and its American essence is apparent.

The libretto by poet Edwin Denby was written specifically for young people and set during the Great Depression. It’s succinct and matter of fact, without frills or flourishes.

The accomplished adult choir. Photo by Stray Dog Theatre.

The program notes describe the time and place as: “A small Middle West town following a devastating hurricane in the 1930s. We start in a local high school and move to a rise in ground in a waste country near a great river.”

Inspired by a true story, a group of enthusiastic high school students volunteered to help with delivering supplies to victims of a recent hurricane. Little do they realize the dangers involved, for they are in harm’s way as the weather forecast predicts the possibility of a second hurricane.

With their different personalities and social hierarchy, the students tussle with each other, not agreeing much on duties and strategies. But faced with another natural disaster, frightened and with little resources as they’re stranded on a remote island, they learn to work together, cooperating and demonstrating courage and tolerance.

It’s a terrific lesson on teamwork. The six students on the rescue mission include Nadja Kapetanovich as top of the class Queenie, Bryn Sentnor as determined Gwen, Jabari Boykin as brainy Lowrie, Soren Carroll as new kid Butch, Wesley Balsamo as bully Fat, and Ben Hammock as Gyp, Fat’s younger brother. Cece Mohr plays Jeff, a country boy they discover living in a rural area.

Nadja Kapetanovich performs “Queenie’s Song.” Photo by Stray Dog Theatre.

They are bolstered by new friendships and a sense of belonging, and there’s tangible relief and gratitude from the parents.

The other expressive, self-assured students that shine in the chorus include Eliana Bryson, Margot Carroll, Abby Donald, Sydney Fendler, Sierra Hale and Ava Hettenhausen.

Demonstrating substantial technical skill, the adult choir includes Madeline Black, Leah Bryson, Jacob Cowley, Gansner, Rebecca Hatlelid, Lizzie Klemm, Brittany Kohl, Jess McCawley, Chris Moore, Jan Niehoff and Terrell Thompson. Kohl acts as the school principal and Niehoff as an aviator, Miss Maclenahan (she’s nearly unrecognizable, swallowed up in a cumbersome coat and hat).

From a first-row perch, Gerdes guides the 12 accomplished musicians to create a stirring sound and passionately interpret Copland’s music.

Jabari Boykin, Soren Carroll, Bryn Sentnor, Wesley Balsamo, and Ben Hammock. Photo by Stray Dog Theatre.

The cohesive musicians, behind the singers on stage, are– Helen Bednara, bassoon; Mo Carr, violin 2; Andrea Clark, flute; Jill Hamill, viola; Bill Howells, trombone; Michaela Kuba, double bass; Emily Mehigh, clarinet; Paul Rueschhoff, cello; G Schmiedeke, violin 1; Brandon Lee Thompson, oboe; Deborah Thuet, percussion; and Chris Dressler and Larry Levin each play trumpet at select performances.

Costume designer Colleen Michelson collected numerous print dresses for the period looks, and some of the boys wear overalls to reflect their rural life. Sarah Gene Dowling designed wigs for several singers. Tyler Duenow designed the lighting and Justin Been again created impeccable sound, simulating weather and making the music fill the theater.

Ava Hettenhausen, Sierra Hale, and Sydney Fendler

The two-act musical is only an hour, and the numbers are mostly presented as choral pieces, but four youngsters deliver moving and memorable solos.

Displaying clear, crisp and confident tones, Wesley Balsamo, Ben Hammock, Nadja Kapetanovich and Cece Mohr are affecting in their songs, simply titled with their characters’ names. Their stage presence is notable, too.

“The Second Hurricane” appears to be a rewarding collaborative experience, where everyone seemed to bring out the best in each other.

Stray Dog Theatre presents the Aaron Copland opera “The Second Hurricane” Aug. 7 – 30, Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. on Aug. 10, Aug. 17 and Aug. 24 at the Tower Grove Abbey, 2336 Tennessee Avenue. For more information or for tickets, visit the website, www.straydogtheatre.org.

Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre. The opera is 1 hour long, with an intermission.

Rebecca Hatlelid, Lizzie Klemm, and Jess McCawley

Honest, Earthy Performances Impress in Stray Dog’s Heartfelt ‘Frankie and Johnny in the Clair de Lune’

Honest, Earthy Performances Impress in Stray Dog’s Heartfelt ‘Frankie and Johnny in the Clair de Lune’

By Lynn Venhaus

“Moonlight and love songs are never out of date” …”As Time Goes By”

Stephen Peirick and Mara Bollini act their hearts out in a complicated love story about damaged souls making a connection in Terence McNally’s perceptive “Frankie and Johnny in the Clair de Lune.”

McNally, who won five Tony Awards during a six-decade career and was nicknamed “The Bard of America,” had a keen ear for dialogue – the way ‘real’ people talk. Even if characters are New Yorkers, you can universally identify with their joys and sorrows.

Frankie, a waitress, and Johnny, a short-order cook, work at the same diner. After several weeks of mutual attraction, they finally hook up for a date that turns into a passionate all-nighter back at her apartment. Their sexual activity is heard, not seen, but discussed in detail, and some nudity is involved.

Their thought-provoking post conversations are full of sly observances, remarkable coincidences, laughter, explicit language – and need for sustenance, not only her craving a cold leftover meatloaf sandwich or using his knife skills to prepare a Western omelet.

Stephen Peirick and Mara Bollini. Photo by Sarah Gene Dowling.

Unfiltered Johnny is a loquacious fellow – even quotes Shakespeare – but there is some darkness hinted at, while Frankie is more guarded, not so quick to reveal her life story. It’s obvious, with their real ages 41 and 48, that their experiences include so-called baggage and battle scars, but what they choose to share is heartfelt.

This relatable working-class pair do not expect fairy tale fantasy endings, after failures and faults have piled up over the years, but wanting fulfillment instead of only sexual pleasure is brought up in conversation.

McNally, who died in 2020, also had a gift for creating a community, exchanging ideas and presenting ways to deal with change, as his plays “Master Class,” “Love! Valour! Compassion!” and “Mothers and Sons” demonstrate, as do his books for musicals “Ragtime,” “Kiss of the Spider Woman,” and “The Full Monty.”

In this hopeful yet realistic look at elusive love, he wants the audience to ponder if they could heal after expressing their feelings and make a stronger commitment despite the difficulties.

The play, celebrated in both its off-Broadway run in 1987 and later Broadway and revival, starred acting luminaries Kathy Bates and F. Murray Abraham, Michael Shannon and Audra McDonald, and Edie Falco and Stanley Tucci as the titular characters.

A much-maligned 1991 movie adaptation, directed by Garry Marshall, starred Michelle Pfeiffer and Al Pacino. It was criticized for the stars being “too attractive” to play ordinary roles, and was described as lacking depth.

The best thing about Stray Dog’s carefully crafted production is its intimacy, and that has much to do with the performances from two veteran actors who are brave enough to expose their vulnerabilities, with physicality, good comic timing and frankness.

Director Gary F. Bell approaches the mature-themed material in his customary straightforward manner, steadily and clear-eyed. He also designed suitable costumes for a casual date and lingerie.

Savvy sound designer Justin Been punctuates the evening with a fine selection of classical music, including Claude Debussy’s beloved “Clair de Lune,” which means “moonlight” in French.

The soothing, ethereal piano piece conjures up gentle imagery and sums up the couple’s longing. It’s a perfect coda for an emotional rollercoaster ride.

Photo by Sarah Gene Dowling.

Johnny is smitten in a hopeless romantic way, wanting more than a one-night stand, and eager to rush in, which Frankie is wary of, for she is not so sure she’s ready for his intensity. Their push and pull are the crux of the two-act play.

Because we’re in the post-#MeToo era, and “no means no,” as it should, some of the actions are problematic (the play is set in the 1980s). If it was a contemporary piece written today, they would not have moved on to a second act, and I think concerns about Johnny’s attempted manipulation of Frankie would be raised.

So, there is that. She wanted him to leave, said so a couple times, and he wanted to stay. His directness seems more uncomfortable than persuasive. Women’s safety should always be at the forefront of storytelling in 2025. Therefore, this is a period piece that can get cringy 38 years later.

After that troublesome exchange, it appears that she willingly changed her mind because we would have had a very different outcome. As truths are tdivulged, more of a growing closeness can be felt.

Johnny’s desire for a genuine love connection and Frankie’s hesitant steps to trust again are moments of sweet tenderness – but that appearance of pressure that wound up being worked through took some suspension of belief, truth be told.

The two actors have worked together several times, including superbly as the iconic bickering married couple George and Martha in “Who’s Afraid of Virginia Woolf?,” which was staged at Stray Dog in 2023. There is little comparison to those dynamics..

Their ease with each other helps convey their loneliness, aspirations and fears. Peirick and Bollini, both likable performers, display comfortable chemistry.

This demanding two-hander requires a great deal of stamina and ‘heavy lifting,’ because they are on stage for the entire 2 hours and 15 minutes, so this accomplishment is commendable.

Photo by Sarah Gene Dowling.

The creative team’s naturalistic designs are good assets to tell this comedy-drama. Bell also designed the set, a well-worn one-room studio walk-up in Manhattan, in the Hell’s Kitchen neighborhood. However, it can become claustrophobic over the course of a long night.

Tyler Duenow’s lighting design illuminates the pillow talk with different lamps or keeps everybody in the dark during the more ‘delicate’ moments. He also streams moonlight and the breaking dawn during the times they reference the moods and the music.

Stage managers Justin Been and his assistant Aasrith Veerapaneni keep things moving.

On one hand, “Frankie and Johnny in the Claire de Lune” is a product of its time. Its pragmatic look at relationships still offers a glimmer of hope. Overall, the characters resonate, largely due to the engaging efforts of Peirick and Bollini. In today’s vernacular, they play people who want to be seen and heard in a valuable way.

It’s still the same old story
A fight for love and glory
A case of do or die
The world will always welcome lovers
As time goes by,
— Herman Hupfield

Stray Dog Theatre presents “Frankie and Johnny in the Clair de Lune” June 5 through June 21 at the Tower Grove Abbey, 2336 Tennessee Avenue. The performances are Thursday through Saturday at 8 p.m., with special Sunday matinees at 2 p.m. on June 8 and 15. The show contains mature language, adult situations, flashing lights, discussion of abuse, and nudity. Viewer discretion is advised. For more information: straydogtheatre.org

Sarah Gene Dowling Photo.

Stray Dog Theatre’s ‘The Curious Savage’ is Sweet Comical Kiss

Stray Dog Theatre’s ‘The Curious Savage’ is Sweet Comical Kiss

By Lynn Venhaus

A sweet and tender-hearted foray into found families, “The Curious Savage” is brought to vivid life with warmth by an eclectic cast of 11 characters.

Reminiscent at times of the screwball antics of “You Can’t Take It with You,” this 1950 amiable comedy by playwright John Patrick kicks off Stray Dog Theatre’s season with a heartwarming effort.

Set in a live-in psychiatric center called The Cloisters, Ethel Savage has been placed there by her three awful stepchildren. Greedy, self-centered and rude, the trio are cartoonish villains played in over-the-top characterizations by seasoned pros Matt Anderson, Sarajane Clark and Joseph Garner, who have great fun being despicable.

Anderson is a condescending senator, Clark is a vain actress who has been married six times, and Garner is a haughty judge. All display degrees of entitlement and indignation, for they think their father’s second wife is mentally unstable. She inherited $10 million and wants to give it to people who want to pursue their dreams.

The bratty kids want the money for themselves, therefore, wreak havoc at the sanitarium by badgering her, bullying the staff and disrupting the fragile ecosystem among the patients.

Tyson Cole, Liz Mischel, Gansner and Lindsey Grojean. Photo by John Lamb.

In an amusing performance, Liz Mischel excels as a crazy-like-a-fox senior citizen, whose compassion and kindness is in stark contrast to her stepchildren’s demanding threats.

Ethel quickly ingratiates herself with the staff and the residents, and bonds form with the damaged/broken people whose mental trauma resulted in a sanitarium stay.

Director Gary F. Bell deftly directed this piece to bring out The Cloisters’ characters’ goodness and dignity, and the staff’s humanity. While what they say is often funny, they are not punchlines to any cruel jokes and are treated as individuals. The well-cast performers are convincing in portraying their characters’ issues, and they all gel as a satisfying ensemble.

Lindsey Grojean is delightful as the childlike Fairy May, who is unfiltered and funny, while Anne Vega is a caring mother, Florence, whose loss of her infant son caused a breakdown. She believes John Thomas is still alive.

Camille Fensterman is tormented Mrs. Paddy who professes to “hate everything” and delivers laundry lists of things she dislikes, but she doesn’t speak other than those litanies, only painting seascapes in a corner.

Tyler Cole plays a skittish World War II veteran Jeffrey, who was a pilot who survived a crash while all his men perished. He’s convinced he has a horrible facial scar and holds his hand to his face hiding it.

Gansner is helpful statistician Hannibal, who lost his job to an electronic calculator. He plays the violin, badly. The characters have personal quirks, such as Miss Paddy who gave up electricity for Lent, and is turning off the lights at inopportune times.

David Wassilak is Dr. Emmett, the matter-of-fact and fair doctor-administrator, while Claire Coffey is pleasant Miss Willie, who helps with patients. She also shares a secret.

Over the course of three acts, we are charmed by this smart, intuitive ensemble, portraying lovable characters with a great deal of heart, and the bad guys who are at their grumpiest and at times, histrionic. The joke is often on them.

Lz Mischel, David Wassilak, Anne Vega, Joseph Garner, Matt Anderson and Sarajane Clark. Photo by John Lamb.

The playwright has become a favorite of community and school theaters, and the most famous of his works is “The Teahouse of the August Moon,” which won a Pulitzer Prize for drama and a Tony Award for best play in 1954.

The only drawback to presenting a 75-year-old play is its outdated views on mental illness and mental health but does make strong points about the insanity on the outside that wields ugly power in society.

Think of it as a period piece, like the classic “Harvey” and other old chestnuts. Costumer Colleen Michelson has gathered frocks and casual attire from the 50s era, while dressing Lily Bell in scarlet dresses. As Ethel, Liz wears a dandy gaudy hat.

As is customary, Bell, as scenic designer, created a cozy interior on stage, while lighting designer Tyler Duenow and sound designer Justin Been enhanced the atmosphere.

A thoughtful and enjoyable approach to a heart-warming comedy, “The Curious Savage” is a comical kiss to kindness elevated by captivating performances.

Camille Fensterman, Lindsey Grojean, David Wassilak. Photo by John Lamb

Stray Dog Theatre presents “The Curious Savage” Thursdays through Saturdays at 8 p.m., Feb. 6-Feb. 22, with additional performances at 2 p.m. Sunday, Feb. 16, at Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. There are two 10-minute intermissions. For more information: www.straydogtheatre.org.

Bewitching ‘Bell, Book and Candle’ a Sophisticated Retro Rom-Com

Bewitching ‘Bell, Book and Candle’ a Sophisticated Retro Rom-Com

By Lynn Venhaus

A supernatural romantic comedy is a surprisingly delectable sweet treat this holiday season. (Who knew?) Stylish and witty, “Bell, Book & Candle” casts an enchanting ensemble who appear to be having a jolly good time in this sophisticated retro throwback presented by Stray Dog Theatre.

When you think of witches, do those three macabre ones in “Macbeth” first come to mind, stirring a bubbling cauldron? Or is it the mean and nasty one in “Into the Woods,” with the haunting lyric “Witches can be right”? What about the unforgettable classic clash in ‘The Wizard of Oz” setting up sides with “Are you a good witch or a bad witch?”

Perhaps the all-American witch Samantha Stevens of the beloved sitcom “Bewitched,” 1964-1972, who lived in the suburbs and pretended to be a normal housewife, changed perceptions from scary to fitting in.

But it was Gillian Holroyd who broke the mold on the Broadway stage in 1950 in playwright John Van Druten’s “Bell, Book & Candle.” He created the character and added all the ingredients to bewitch, bother and bewilder, including a black cat, magic spells, hocus pocus, romance and fantasy.

Gillian was a very modern woman with a glamorous life, ensconced in the tony Murray Hill neighborhood of New York City – only she had a secret. She practiced witchcraft. The play became a popular 1958 movie starring Kim Novak, James Stewart, Jack Lemmon, Hermoine Gingold, and Elsa Lanchester.

Claire Coffey as Gillian. Photo by John Lamb.

Claire Coffey personifies every facet of Gillian, looking classy and elegant in several chic outfits assembled by costume designer Colleen Michelson, then serious when she’s casting spells and hatching plots.

In her cozy and cosmopolitan apartment, she chats with her daffy Aunt Queenie, a busybody who finds out information one way or the other. Liz Mischel embodies the eccentricities of the character, and always bursts in, wearing colorful garb.

Gillian is intrigued by her new neighbor, polite and polished publisher Shepherd Henderson (Joel Wilper), and she finds out he’s dating a rival from her college days, expecting to get engaged. Before you can say abracadabra, this witchy woman arranges him to fall head over heels in love with her instead. It’s Christmas Eve, no less.

One wrinkle: Witches, in this supernatural tale, cannot fall in love or else they lose their power. Therefore, life gets more complicated, not less. How far can this relationship go without secrets being revealed?

The gallant and urbane Shep is as smitten as a teenager, as if a thunderbolt struck him, not thinking rationally, but he’ll eventually be confronted by reality. Wilper conveys both sides of Shep convincingly.

Claire Coffey and Joel Wilper. Photo by John Lamb.

Other characters factoring into the mayhem – her snarky, rakish brother Nicky (Victor Mendez), author Sidney Redlitch (Gary Wells) and her cat, Pyewacket. Nicky and Redlitch have collaborated with a book on witches in NYC, but Shep is highly skeptical.

Oh, what a tangled web she weaves, practicing to deceive, but without spoiling the plot, magic can work wonders.

Director Gary F. Bell keeps everything light-hearted and breezy, focusing on his cast’s ability to charm. Coffey and Wilper ground the fantasy as a twisty rom-com while the supporting players go a little wackier and broader.

Bell also designed the swanky set, and it’s a snazzy vintage collection of furniture and fashionable accents. Jude Hagene painted the attractive living room. Tyler Duenow’s lighting design gives the parlor a warm glow.

As always, Justin Been has selected a swinging soundtrack suited for 1950s high society with a merry touch of Rat Pack coolness.

While “Bell, Book and Candle” is traditional in structure, but not in subject matter, this is a bright bauble that is well-suited to comfortably and merrily entertain.                                                                                                                                                                                                                                                                         

Claire Coffey and Victor Mendez. Photo by John Lamb.

“A witch never gets caught. Don’t forget that she has magic in her fingers and devilry dancing in her blood.” — Roald Dahl, “The Witches”

Stray Dog Theatre presents “Bell, Book and Candle” Thursdays through Saturdays at 8 p.m., Dec. 5 through 21, with an additional performance at 2 pm on Sunday, Dec. 15. Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre. For more information: www.straydogtheatre.org or call (314) 365-1995

Victor Mendez, Claire Coffey, Gary Wells and Joel Wilper. Photo by John Lamb.

Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

By Lynn Venhaus
A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.

As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.  

In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.

The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.

Matt Anderson, Shannon Campbell, Drew Mizell. Photo by John Lamb

It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.

Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.

Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).

The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.

Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.

Jayson Heil, Sean Seifert, Drew Mizell, David Wassilak, Matt Anderson. Photo by John Lamb

When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.

Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.

As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.

The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.

It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .

Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.

A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.

Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.

This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.

Claire Coffey, Drew Mizell, David Wassilak, Jayson Heil, Matt Anderson, Shannon Campbell and Sean Seifert. Photo by John Lamb

Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.

ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Hanging at Monkswell Manor. Photo by John Lamb

Vitriolic ‘Sister Mary Ignatius Explains It All For You’ Still Pushes Buttons

Vitriolic ‘Sister Mary Ignatius Explains It All For You’ Still Pushes Buttons

By Lynn Venhaus

A social satire is not fulfilling its goal if it doesn’t outrage somebody, and “Sister Mary Ignatius Explains It All for You” is certainly provocative.

Stray Dog Theatre’s production pushes buttons, even though the show is now 43 years old. Wickedly funny, bold and acrimonious, the company wisely played it straight.

But you won’t find protesters outside Tower Grove Abbey. This time at least. Stray Dog Theatre isn’t a group that shies away from controversial subject matter and has presented bold and unconventional fare before. (For instance, this year alone, Charles Busch’s campy satire “Vampire Lesbians of Sodom” was the June show).

Christopher Durang’s watershed 1979 play takes aim at Roman Catholic dogma, and specifically, a rigid teaching nun for her over-reaching and unchecked abuse of power.

For his absurdist comedy, he mocked the nuns as authority figures. Apparently, he had a lot of anger from being raised Catholic. With identity and sexual disorientation being among his frequent themes, of course he channeled it all in this script.

As a graduate of Our Lady of Peace School in Providence, New Jersey, Durang no doubt stored material as he matriculated there, and went on to Harvard and Yale School of Drama. He also won the Obie Award for Best Playwright in 1980, at age 32, for this work. (Much later, he won a Tony for “Vanya and Sonia and Masha and Spike” in 2012).

“Sister Mary Ignatius” brought him to national prominence and raised the ire of St. Louis Catholics. If you think Billy Joel’s song “Only the Good Die Young” caused a ruckus in the St. Louis Archdiocese in 1977, well they went ballistic when the Theatre Project Company announced they would be presenting the black comedy in 1983. Thirty years ago, the archbishop condemned it, and protests ensued.

But these days, after years of clergy being unfavorably in the spotlight, and nuns as characters in both comedies and dramas, “Sister Mary Ignatius” isn’t the lightning rod it once was. And Catholics have other things more pressing to worry about – although being traumatized by a religious order should remain high on the list.

The one-act starts out with a conventional structure but then meltdowns begin. Sister Mary Ignatius, played with utmost conviction by Sarajane Clark, is still teaching children about the perils of sin and hellfire when several alumni – mostly hot messes — come for a visit. When she finds out how far these members of her flock have strayed from the path of righteousness, well let’s just say there are some shocking consequences.

Tables turn, and it isn’t pretty. Director Gary F. Bell stages it as an absurdist horror film.

Rachel Bailey is the emotionally wounded Diane Symonds, who threatens Sister’s life. Eileen Engel is Philomena, an unwed mother, Stephen Henley is Gary, polite and gay, with Sean Seifert as Aloysius, a troubled alcoholic. They’re all genuine on stage, veterans that they are.

Sister’s obedient little Thomas is played with poise by youngster Tommy Pepper, who misses the violence on stage.

Anyone who went to a parochial school will be reminded of catechism teachings and how rigid certain nuns were.

Sister Mary Ignatius is an extreme example, but there are nuggets of truth in this mischievous manifesto. The sharp satire makes for some uncomfortable and awkward moments, so folks are warned in case there would be triggers.

Stray Dog Theatre presents “Sister Mary Ignatius Explains It All for You” for mature audiences Thursday through Saturday at 8 p.m. Nov. 30 – Dec. 16. For tickets or for more information, visit www.straydogtheatre.org.

All photos by John Lamb

Riveting Mind Games and Bravura Performances in Stray Dog’s ‘Who’s Afraid of Virginia Woolf?’

Riveting Mind Games and Bravura Performances in Stray Dog’s ‘Who’s Afraid of Virginia Woolf?’

By Lynn Venhaus
Stray Dog Theatre goes for the gusto in a blistering, shattering “Who’s Afraid of Virginia Woolf?” that features bravura performances and a fresh perspective on one of the landmark intellectual works of the 20th century.

Edward Albee’s 1962 dramatic comedy is divided into three acts that bristle with tension and increasingly unsettling confrontations are staged during a long night’s journey as two married couples peer into the abyss.

Passive-aggressive George (Stephen Peirick), an associate history professor at a small New England college, appears to be a milquetoast foil for his brassy and sassy wife, Martha (Mara Bollini), the attention-seeking daughter of the college president. After a faculty party, she has invited another couple back to their home on campus for more cocktails and conversation.

Nick (Stephen Henley) is an ambitious biology professor who is married to a sweet and naïve Honey (Claire Wenzel). They become ensnared in their dysfunctional hosts’ “Fun and Games” in Act One, as drinks flow into the wee hours of the morning and the booze-influenced patter grows uglier.

Wenzel, Henley. Photo by John Lamb

As the volatile middle-aged George and Martha viciously taunt each other, cracks in the young couple’s seemingly pleasant life are revealed, and the older couple is ready to pounce for sport. This isn’t their first rodeo. He seethes, she rages.

Everyone’s had a similar uncomfortable feeling around a bickering couple before, uneasy about the lack of a filter and polite behavior. Eager to please, the young folk stay, but as it gets later, it’s to their detriment – Nick is too power-hungry and Honey too vulnerable. Because the next act gets more disturbing, and the regrets start to pile up.

Act Two, titled “Walpurgisnacht,” is a reference to Christian missionary Saint Walpurga, who was known to repel witchcraft and helped convert Germany from heathenism. Known as an annual witches meeting, it typically takes place April 30, and there is a much longer backstory to know. Albee uses it for satirical reference. Of course.

Albee has the men argue more, and the insults begin. Martha will embarrass George’s literary efforts – with Bollini employing a haughty, degrading laugh meant to ridicule her husband. In turn, George becomes more contemptuous of the couple, devising a new game, “Get the Guests.”

Honey, drinking too much brandy, has a finicky stomach and becomes sick a couple times during these alarming encounters. Martha starts acting seductively towards Nick, which brings up more concerns.

Act Three, bluntly titled “The Exorcism,” is a devastating showcase of pain, pride, and purgatory. It takes on an eeriness not unlike a horror thriller, and sound designer Justin Been helps enhance a sense of danger and drama through cinematic score snippets that separate each act.

“Bringing Up Baby” is the next cruel game George demands they play. And they will reveal details about their son, which is complicated. This is by far the most destructive segment of the show, but also a twisted form of catharsis.

Using his wit and clever wordplay, Albee crafted a tragic circumstance around everyone’s illusions – how they see the world and how their inadequacies are part of their daily codependent lives. Their falsehoods are at times unclear, as Albee wanted to point out how society’s norms impede honesty. And their failures affect their mental health.

Wenzel, Bollini. Photo by John Lamb

The fact that a play written 60 years earlier holds up so well is a testament to Director Gary F. Bell’s vision.

He has masterfully dissected this emotionally intense play, having the actors fully realize their characters’ psychological portraits by creating more layers and nuance.

These are demanding and difficult incendiary roles, ultimately about survivors, and the actors are up for the challenges, nimble in delivering Albee’s bitter and brittle dialogue. Not a one makes a false move – everyone defines their intentions clearly.

These are four characters with dashed dreams and multiple frustrations, and they take turns being defiant and trying to cling to their dignity.

Establishing a tempestuous dynamic, Peirick and Bollini dig deep for their revelatory gut-wrenching performances, and both are at their career best. Henley provides yet another interesting characterization as confident Nick who finds himself eviscerated. Newcomer Wenzel is impressive in her local debut as the impressionable young wife trying to meet the expectations of an American nuclear family.

The scale of each character’s dreams are vastly different, and it’s stunning to see how quickly things get out of control. The truths are harsh, the partying hard, and the humiliations fester.

Photo by John Lamb

As scenic designer, Bell also capably created the modest worn living room where he fluidly moved the characters so nobody is static – and the bar gets a workout. As costume designer, he aptly outfitted the characters in appropriate career and party attire from that era. Lighting designer Tyler Duenow focuses on lighting several lamps in the interior.

The 1963 winner of the Tony Award for Best Play has enjoyed multiple revivals on Broadway, and this particular version produced by Stray Dog is the published 2005 revised script that starred Kathleen Turner as Martha, Bill Irwin as George, Mireille Enos as Honey and David Harbour as Nick.

This emotional roller-coaster of a production, certain to leave a lasting impression, is riveting throughout – even with its more than three-hour runtime. Adult themes are explored, and profanity is used. There are two 10-minute intermissions.

Stray Dog Theatre presents Edward Albee’s “Who’s Afraid of Virginia Woolf?” from Feb. 9 to Feb. 25, Thursday to Saturday at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104. There will be a Sunday matinee at 2 p.m. on Feb. 19. For more information, visit www.straydogtheatre.org.

Photo by John Lamb

Stray Dog’s Brave, Fierce ‘The Normal Heart’ Is Not Just History, It’s Personal

Stray Dog’s Brave, Fierce ‘The Normal Heart’ Is Not Just History, It’s Personal

By Lynn Venhaus
At once an urgent call to action, historical political drama, and heart-wrenching story of love and friendship, “The Normal Heart” captures a specific time and place while resonating as a cautionary tale.

With an ensemble cast devoted to making every emotional beat authentic, Stray Dog Theatre’s brave and fearless production chronicles the growing AIDS crisis in New York City from 1981 through 1984, and how badly it was bungled.

It was a harrowing time, and gay activist Larry Kramer’s 1985 mostly autobiographical play is haunting as it conveys the confusion and chaos.

This work is a gripping account of how leaders in the gay community fought an indifferent, inefficient, and ineffective political system that ignored their plight until they couldn’t, as deaths were escalating in alarming way.

With a keen eye on the bigger picture, the company’s artistic director, Gary F. Bell, shrewdly directed principal character Ned Weeks’ journey from angry protestor to frustrated and furious advocate demanding change. It’s not just history, it’s personal.

During the early 1980s, Bell lived in New York City as the acquired immunodeficiency syndrome began decimating a terrified gay population. With the early years of another global pandemic not yet in the rearview mirror, Bell builds on that lack of knowledge and awareness to be relatable.

Many homosexuals were forced to live a closeted life, for fear of retaliation and being ostracized, or fired at work, or target of hate crimes. It was a very different time. And then, as the HIV/AIDS outbreak spread, so much fear and ignorance added fuel to the misunderstandings.

For those who remember living in the shadows 40 years ago, the pain of being unseen, unheard and dismissed during a growing public health crisis is palpable. Others who have been marginalized can identify, too.

Sarjane Alverson and Joey Saunders. Photo by John Lamb

Bell’s lean, cut-to-the-chase presentation focuses on perspective for the look back while being mindful of current parallels so that it feels contemporary and fresh.

In his best work to date, Peirick, a Stray Dog regular, brings an in-your-face intensity to Ned’s mission to make sense of what is happening while confusion reigns in the medical, political, and social circles in his orbit.

He shows how frightened Ned is for those around him, and how his laser-beam attention isn’t immediately shared by peers, much to his dismay. He pushes, he’s abrasive, he’s relentless – and eventually, he rattles the right cages and rallies others to see how the clock is ticking.

Newcomer Joey Saunders plays Felix Turner, a New York Times fashion writer who becomes involved in a serious relationship with Ned. When he is diagnosed with AIDS, how he deals with the decline from symptoms to the illness taking over his life is gut-wrenching and makes it deeply personal.

The other guys view their roles as important vessels, a duty they take seriously, as they all “go there,” daring to plumb emotions for a stunning depth of feeling.

In a dramatic turn as banker Bruce Niles, Jeffrey Wright pours out his anguish to tell how his lover died and the humiliation that followed, while Jon Hey melts down as the overwhelmed Mickey Marcus, frustrated by the lack of results.

It’s impossible not to be moved or not care about these people, to get into their heads and hearts as they confront the biggest health crisis of their time.

Stephen Henley, Jeremy Goldmeier, Stephen Peirick and Jon Hey. Photo by John Lamb

Characters get sick and die. Their lovers, co-workers, friends and family show symptoms and it doesn’t end well. Or those people refuse to accept and believe what is really happening.

Stephen Henley brings compassion to the Southern-style Tommy Boatright and Michael Hodges plays the dual roles of Craig Donner and Grady.

Three portray outsiders that are integral to the story.

A perfectly cast Sarajane Alverson is strong as Dr. Emma Brookner, who is in a wheelchair from childhood polio – a powerful visual. She is a crucial character who delivers the medical findings and sounds alarm bells

Jeremy Goldmeier has the thankless task of being the hard-edged municipal assistant Hiram Keebler and David Wassilak is buttoned-up Ben Weeks, Ned’s distant lawyer brother.

The austere set optimizes a growing set of file boxes as the HIV/AIDS cases surge and death toll mounts. Justin Been handled the scenic design and the sound work, punctuating the heightened emotions with dramatic instrumental music.

Kramer, always demanding, wanted to move the needle on tolerance and acceptance, which is why, 40 years later, this play has a far-reaching impact.

It is always hard to see so much time and energy spent on hate, even in historical context, but through art, there is also a glimmer of hope.

A play this pertinent has expanded its purpose at a time when we need to pay attention, for we must never forget. The organizers of today stand on the shoulders of giants, and Stray Dog is providing an important service to a new generation.

Stray Dog Theatre presents “The Normal Heart” from June 9 to 25, Thursday through Saturday at 8 p.m., with a Sunday, June 19, matinee at 2 p.m., at The Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org

Stephen Peirick and Joey Saunders. Photo by John Lamb

Superb Performances Dredge Up Uncomfortable Truths in Stray Dog’s Savvy ‘Good People’

Superb Performances Dredge Up Uncomfortable Truths in Stray Dog’s Savvy ‘Good People’

By Lynn Venhaus

Our turfs and our tribes. It’s what defines us.

Well, we like to think that, but maybe it’s our choices that shape us. David Lindsay-Abaire’s “Good People,” a brilliant examination of class, good fortune, and the struggles of those left behind, is getting a stimulating treatment at Stray Dog Theatre.

Talk about a conversation starter! With a superb cast led by the incomparable Lavonne Byers, the gritty “Good People” bluntly spells out the wide divide between the haves and have-nots, and not just financially, but in word, thoughts, and deeds.

Margie Walsh is a Southie, for she lives in South Boston’s Lower End, a primarily working-class Irish American neighborhood where the playwright grew up. So, he wrote with deep understanding and connection.

Byers conveys Margie’s toughness and anxiety, with an undercurrent of desperation that she tries not to show. Her weapon is sarcasm. Hardened by a hardscrabble life, she has fought, clawed, and scratched in a dog-eat-dog world. Stubborn and proud, sometimes she has made life more difficult for herself because she will not rely on anyone, but she is loyal to a fault.

After high school, she became a caretaker. It’s a lifetime ago, and that’s when her dreams died, if she had any. As the single working mother of a developmentally disabled adult daughter, she plugs away at minimum-wage jobs. After being late too many times waiting for her daughter’s sitter to show up, she is fired from working as a cashier at the dollar store.

Friends and neighbors gather at the church hall for Bingo in hopes of winning the jackpot and to socialize. Stephanie Merritt is amusing as ballsy Jean, mouthy but well-meaning; Liz Mischel is defensive as the indifferent landlady Dottie, who is also Joyce’s unreliable sitter; and Stephen Henley projects a sweetness as the decent, practical Stevie, her compassionate ex-manager.

The Southie accent is a difficult one, so the dialect work is to be commended, because it’s evident that the ensemble worked on getting it right.

Stephen Peirick and Lavonne Byers. Photo by John Lamb.

About to be evicted, Margie is hanging by a thread. She is not “lace curtain Irish.” Jean knows she needs a break and mentions that she ran into Margie’s old high school flame, Mike, now a doctor. Why doesn’t she ask him for a job, or his help in finding one?

“Mikey” is now a fertility specialist, and he lives with his elegant African American wife Kate and their daughter in Chestnut Hill, an affluent village six miles from downtown Boston. He doesn’t have any office openings. Caught off-guard by the visit 30 years after he last saw her, he prefers not to be reminded of his rough-and-tumble upbringing. She forces an invitation to his wife’s party. Maybe someone else can help with employment.

It’s cancelled, their daughter is sick, but Margie thinks he is blowing her off, and shows up anyway at the door, and Kate mistakes her for the caterer.

Stephen Peirick is Mike, now “Michael,” and Laurell Stevenson is Kate, who live comfortably, although see a couples’ therapist. Their nouveau riche lifestyle is worlds apart from his humble formative years in South Boston. Humble, he’s not.

There is more to the story, but it’s best the audience discover the developments on their own. Just know that pleasant social graces disappear when a confrontation gets ugly. Initial warmth gives way to a chilling coldness.

Under Gary F. Bell’s savvy direction, the trio nimbly escalates emotions that lead to a cruel climax. Peirick, not often playing a jerk, indicates “Michael” is increasingly uncomfortable to be confronted with his past with Margie’s presence.

With her customary confidence, Byers shows how Margie, while agitating, has more integrity in her pinkie finger than the arrogant Michael does. Although Kate is civil at first, and a liberal, she lives in a bubble. And who is ‘self-made’ here, anyway?

Bell heightens the tension while emphasizing “the sides,” and the actors maintain the on-edge feeling throughout the second act, especially in their body language.

At first unassuming but then richly textured, “Good People” is an outstanding production that accentuates that character matters. Your opinion may shift about who is ‘good people.’

Margie, with a hard “g,” clings to her dignity, hoping for a fresh new start, but realizing the dead end is likely where she will stay. She is at once hard to figure out but also completely recognizable.

Scenic designer Josh Smith’s economical set takes a back seat to the human drama unfolding, although there are certain props that are meaningful, such as googly-eyed bright pink bunnies that Dottie makes as her side hustle, and a very expensive vase in Dillon’s upscale home.

Justin Been’s sound design and Tyler Duenow’s lighting design are first-rate.

Lindsay-Abaire, who won a Pulitzer Prize for Drama in 2007 for “Rabbit Hole,” draws his characters well, especially women, for Frances McDormand won a Tony for Lead Actress as Margie in “Good People” in 2011 and Cynthia Nixon won as Becca in “Rabbit Hole.”

In the 11 years since the play was produced on Broadway, the gulf seems wider, and the play, which was excellently produced at The Repertory Theatre of St. Louis in January 2013, seems more pertinent than ever about struggles in hard times.

This is a cast that meets the challenge, and Stray Dog meets the moment in a tautly constructed drama of uncomfortable truths.

Lavonne Byers, Laurell Stephenson, Stephen Peirick. Photo by John Lamb

Stray Dog Theatre is presenting “Good People” Feb. 10-26 at 8 p.m. Thursday through Saturday and an additional 2 p.m. matinee on Sunday, Feb. 20, in the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, Mo. 63104. For tickets or more information, visit. www.straydogtheatre.org

Special guidelines are in place for the health and safety of guests, actors and staff: Masks are required of all guests, regardless of vaccination status. They still encourage physical distancing throughout the theater. They recommend, but do not require, that all guests be vaccinated.

Polizzi Sparkles in Merry ‘Who’s Holiday’ at Stray Dog Theatre

Polizzi Sparkles in Merry ‘Who’s Holiday’ at Stray Dog Theatre

By Lynn Venhaus

If you are seeking a sugar-coated Hallmark Christmas movie, “Who’s Holiday” is not that kind of warm-and-fuzzy. Nevertheless, the amusing one-woman show is an engaging cup o’ cheer – unless your heart is two sizes too small.

If you are familiar with past holiday season productions at Stray Dog Theatre, then you are aware of their penchant for a non-traditional offering, and this suits that M.O.

The R-rated merriment runs Dec. 2 – 18, Thursday through Sunday, with a Sunday matinee Dec. 12, at the Tower Grove Abbey – only all performances are sold out, but one can get on their in-person waiting list before each show. –

An irreverent, bawdy post-childhood spin on Dr. Suess’ “How the Grinch Stole Christmas” is a festive communal experience, which could get you in the mood for the holidays – especially when you sing along to an evergreen sentimental song.

Laced with adult humor, this sweet and salty 2017 work by Matthew Lombardo is a natural vehicle for spirited comic actress Sarah Polizzi, who portrays the grown-up Cindy Lou Who. The character is both naughty and nice, and the effervescent performer revels in that aspect.  

Cindy Lou was the adorable 2-year-old Who caught the famous green ogre stealing all the Christmas presents, the Christmas tree and the feast because he did not want anyone to enjoy the holiday. To carry out his nefarious deed, he was dressed as Santa Claus and his dog Max accompanied him. That did not deter the Whos from celebrating, however.

The grouchy Grinch became Dr. Seuss’ legendary storybook villain in 1957, and then immortalized in an animated TV special in 1966, narrated by Boris Karloff. In the years since, it has been adapted several times, including a live-action film starring Jim Carrey that came out in 2000, then a musical followed in 2007, and then a computer-animated feature with Benedict Cumberbatch in 2018 and a live television musical adaptation starring Matthew Morrison last year.

So, it helps to have some sort of working knowledge of the Dr. Seuss book and his first villain.

No longer an innocent, Cindy has returned to living on Mount Crumpit, north of Whoville, and ostracized by her people. Her fall from grace included an illicit romance with the big green beast, teen pregnancy, drug addiction and a prison term. Does not sound very jolly, does it?

So, she engages the audience in cocktails and conversation while sharing her shocking tale of woe.

Despite her hard times, the irrepressible Cindy Lou shows an indomitable spirit – with a beaming smile and a cheery demeanor, although she can get as sour as that grumpy guy – and get a little testy with the neighborhood hooligans. She is ready to put the sordid past behind her and start anew. In a convivial mood, she has invited guests over. But no one shows, much to her dismay. What’s a Party Girl to do? She just wants to have fun.

Polizzi also has the difficult task of speaking in rhyme, the kind that Dr. Seuss was known for in his 60 books, without it sounding sing-song-y, and she accomplishes that.

In a one-person play, the solo character always has a heavy weight to carry an entire show, but it’s only an hour – and she feeds off the audience’s energy with ad libs and being as sparkly as the festive vintage set.

Scenic designer Josh Smith festooned Cindy Lou’s tiny trailer with enough colored lights and kitschy seasonal decorations to make the yuletide bright – and it is delicious eye candy, with lighting designer Tyler Duenow’s effective touches.

Megan Bates’ playful costume design is simple but fetching – retro housewife turned into a livelier vixen.

The twisted tale benefits from Artistic Director Gary F. Bell’s light-hearted direction and it is a very smooth, well-rehearsed production. And Justin Been’s sound design always elevates a show – and his music choices are very smart.

Playwright Lombardo isn’t mean-spirited, just having fun with a parody that’s not unlike a Hollywood child actor’s downfall that makes tabloid fodder – only he exaggerates it to cartoonish proportions.

This isn’t his first production in St. Louis – he wrote the intense heavy drama “High,” which ran as a world premiere-pre-Broadway tryout at the Repertory Theatre of St. Louis in 2010 and starred Kathleen Turner as a nun who was an addiction counselor.

“Who’s Holiday” has both a peppery girls-gone-wild vibe and an affectionate nostalgia for Christmases past. It is certain to leave you feeling merry and bright.

Photos by John Lamb

“Who’s Holiday” is a solo show that runs slightly more than an hour and is presented Dec. 2, 3, 9, 10, 11, 16, 17, 18 at 8 p.m., with a 2 p.m. matinee on Sunday, Dec. 12. The show is sold out, but you may get on a waitlist at the door each performance and must be there in person. Call 314-865-1995 for more information. Visit the website www.straydogtheatre.org

Those with tickets should be aware that seats will only be held until 10 minutes prior to curtain.

Masks are required to be worn by all guests, regardless of vaccination status, at all times while inside the theater and while in the lobby unless actively drinking. They still maintain social distancing throughout the theater. Stray Dog Theatre recommends, but does not require, that all guests be vaccinated.