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.

The Messy Morans Merrily Roll Along in Original Comedy ‘Pride and Joy’

The Messy Morans Merrily Roll Along in Original Comedy ‘Pride and Joy’

By Lynn Venhaus

If your family is friends of Bill W., you can relate to the messy Morans in Colin McLaughlin’s humorous original play, “Pride and Joy.”

However, no matter what level of experience you have with a family of strong personalities who eagerly share their judgmental opinions, you may recognize common traits inherent to those folks related to each other in the Midnight Company world premiere.

Like so many others, they don’t really seem to be connected at times but are inextricably linked as more layers are peeled off. Hence, the similarities to typical American middle-class parental units with idiosyncrasies (don’t we all?).

St. Louis playwright McLaughlin takes a light-hearted look at the emotional and argumentative Morans, who are focused on putting the fun in dysfunctional. A top-flight ensemble takes off with the homegrown material and runs at breakneck speed with it.

Think of it in the same vein as a very special episode of a family sitcom popular in the ‘70s and ‘80s, before Dr. Phil’s “How’s that workin’ for ya?” and Dr. Drew’s Celebrity Rehab.

Director Carl Overly Jr. has cleverly framed the presentation like a television program, complete with TV theme songs playing before the show starts, With such a spry cast, he deftly sets the scene and conveys a lived-in atmosphere easily.

The youngest daughter Sam has invited the family over to her cramped apartment for an intervention, but she is not yet there when they arrive, wondering who the person in need of one is. Is it the dad, who seems to be an imbiber where it may impede his life? Is it the pot-smoking daughter Maggie?

To their surprise, it is their hostess, Sam. She has harbored this secret, and has announced she is sober for three weeks, and is working on the Alcoholics Anonymous program. All worth learning about and supporting.

In this role, newcomer Sarah Lantsberger is endearing as anxious Sam tries to maintain order, but her family isn’t good at following directions. Loud and opinionated, they make it more about themselves. Whose intervention is this, exactly?

Sharp, smart performers who are renowned for crafting authentic characters appear to have a personal history with others from the start. Mom Mary Margaret is Lavonne Byers, one of the true legends of local theater and three-time St. Louis Theater Circle winner for lead performances.

She rarely does comedy but is a master at timing and is always present in every role. You know who this mom is immediately. And of course, she is scurrying around Sam’s apartment, picking up laundry and tidying up.

She and Joe Hanrahan, who plays the rumpled, grouchy, defensive dad Mike, have worked together before, so they are comfortable in a cramped space trying to dispense wisdom to their strong-willed brood.

Hanrahan, the artistic director of The Midnight Company, has always been open to collaborating with a gifted mix of young performers, and engages well with fearless artists, often associated with SATE, ERA, and the St. Louis Fringe Festival.

Oldest daughter Maggie, a ‘type’ of new-age pot-smoker prone to pontificating, is played by seasoned veteran Alicen Moser, another flexible performer. With her family, Maggie is a tad prickly and guarded, but you sense she could contribute more to the mental health goals if applied.

Jayson Heil once again demonstrates his versatility as the jerky, self-centered brother Jay, quick to criticize others and be a disagreeable sort. You get the feeling he didn’t play well with others as a child, let alone his sisters.

Heil, recently seen in “Cabaret,” “First Date” and winner of the St. Louis Theater Circle Award for “All My Sons,” all at New Jewish, is a casual cross between a know-it-all and a slacker as Jay, forced to be somewhere he’d rather not and loathe to confront family memories.

Photo of Lavonne Byers and Joe Hanrahan by Todd Davis

With all their nutty qualities and hang-ups, you can tell there is fertile ground for the characters to dig into, especially in a 12-step program. McLaughlin’s dialogue allows them to convey a shorthand with each other. And the performers are quick verbally and physically to further color the family interactions.

As people familiar with dime-store psychology frequently do, they all talk in self-help books’ psychobabble. Mom is religious, using her faith when it’s convenient while the rest of the family dismisses her outspoken reverence for the son of God.

So, is there a point besides shining a light on a quirky family who needs to break some patterns and establish healthier practices? Hopefully, the intention is to share the universality of family enablers, personal struggles leading to self-medication, self-absorbed people having a change of heart and showing they care for each other when you don’t think they are capable of it?

And not lose sight of that handy mechanism, humor. While some of the characters exhibit traits common in a family with substance abuse issues, a few moments of levity don’t seem to fit as family members deal with their own issues and how it relates to the family dysfunctional dynamic.

So, little digs here and there are just their way of accepting – or not – their habits and excuses. They have some encouraging breakthroughs instead of denial, which leads to a sense of relief that there is hope here.

Yet, there are a few actions that negate that (Maggie’s weed consumption acceptance, dad retrieving a hidden flask…is this a joke? Has nothing changed?). Leave it at hopeful, not thinking “well, maybe not…”

This is a very personal, heartfelt show that means a lot to the playwright, director, cast and crew. It’s obvious in the work that was put into it, and the satisfaction in having it ring true to patrons.  

Photo by Kristina Schall DeYoung

Chuck Winning’s set is a cozy blend of form and function, rendering a young woman’s first apartment, and utilizing the Chapel’s performance space well, while Tony Anselmo’s lighting design suits the material well. Costume designer Liz Henning’s casual attire simply shows each character’s personality.

Art that can entertain, amuse and call people to action is joyous to behold. One doesn’t have to be preachy or melodramatic to get points across. And that’s the beauty of connecting through live theater

The fact that we can all sit in a darkened theater and laugh at the foibles we see in ourselves, and how we each can change the things we can is a powerful message.

Therefore, any opportunity to provide some helpful tools is always welcome (just as triggering messages are).

In that spirit, I would be remiss, after years of advocacy, personal tragedies, a long list of documented dire consequences for generations of alcohol and substance abuse, and much therapy for the remaining family members, not to mention that there is a genetic component that factors in understanding, communication and progress.

Public service announcement: St Louis Alcoholics Anonymous https://aastl.org/ and St Louis Al-Anon: https://www.stl-al-anon.org/

No one is ever alone.

 “God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.” – Serenity Prayer

Photo of Alicen Moser and Sarah Lantsberger by Todd Davis

The Midnight Company presents the world premiere production of Colin McLaughlin’s “Pride and Joy” July 10 through July 26. Thursdays, Fridays and Saturdays at 7:30 p.m., and Sundays, July 13 and 20, at 3 p.m. at The Chapel, 6238 Alexander Drive.  For more information: midnightcompany.com

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Midnight Company Assembled A Mighty Fine ‘Spirits to Enforce’

Midnight Company Assembled A Mighty Fine ‘Spirits to Enforce’

By Lynn Venhaus
A daffy delight, “Spirits to Enforce” is a close encounter of the strange kind even in the make-believe world of theater.

This shouldn’t come as a surprise to anyone familiar with the eccentric work of The Midnight Company and visionary writer-director Lucy Cashion who specializes in the unconventional. Only this time, they are vessels for playwright Mickle Maher’s quirky concept.

Maher, a favorite of Midnight Company’s creative director Joe Hanrahan, has infused his absurd comedic caper with comic book stylings mixed with William Shakespeare characters.

Maher, co-founder of Chicago’s Theater Oobleck, his producing home for more than 30 years, is known for creating paradoxical works, often involving classic literature. Both Midnight Company, Cashion, and their assembled team are at home in this very original and unusual world.

The result is as wacky and clever as the Marx Brothers in “Duck Soup,” one of comedian Bob Newhart’s early telephone routines, the whimsical “The LEGO Batman Movie,” and the surreal comedy troupe The Firesign Theatre (popular in the ‘60s- ‘70s).

It definitely has an improvisational troupe vibe, but director Cashion has masterfully choreographed it like a dance/show choir/cheerleading competition where they are going for the gold.

And that care is exhilarating – and special. It’s apparent that this dozen worked incredibly hard on their precise movements and seamless execution. The kooky ensemble is a marvel of impeccable timing, crisp delivery, and a robust take-no-prisoners approach to their roles.

Twelve characters sit at a very long table, like at a telethon phone bank (pre-GoFundMe, Google it), and are tasked with raising money for a superheroes production of “The Tempest.” This is to save Fathom Town from Professor Cannibal and his band of evildoers.

While sitting in close proximity, they appear to be singular in purpose – their crimefighting mission. As a community, they are desperate to drum up support for this benefit performance, and their urgency and frustration are on full display. They project the manic energy and anxiety of an all-nighter when cramming for a college final.

Photo by Joey Rumpell

The story is that they have finally imprisoned their arch nemesis, Professor Cannibal, and are keeping the city safe from fanged, venomous, ambulatory whales (go with it – anything can happen in those multiverses and ‘snaps,’ you know).

“The Tempest” is a tale of shipwreck and magic, explored on an enchanting island setting, with themes of  betrayal, revenge, and family, so that adds another layer of interesting texture to the production.

These Fathom City Enforcers are in a secret submarine, and the set-up, particularly with old-timey landline phones with extra-long cords, allows much physical humor to take place while they are skillfully weaving in hilariously constructed dialogue to be heard over the din.

The finely-tuned cast includes some of the most eternally gifted performers in local theater – and their names are followed by their secret identity, superhero identity and character in “The Tempest”: Will Bonfiglio, three-time St. Louis Theater Circle Award winner for comedic performances, as Emorie Lawson/Ariel; Rachel Tibbetts, also a Theater Circle Award winner, as Susan Tanner/Memory Lass/Miranda; Cassidy Flynn as Randell James/The Tune/Ferdinand; Miranda Jagels Felix as Donna Adams/The Silhouette/All Masque Characters; Alicen Moser as Cecily Gray/The Page/Prospero; Spencer Lawton as Dale Clark/The Intoxicator/Stephano; and Joe Hanrahan as Wayne Simon/The Untangler/Caliban.

They are joined by (fairly) newbies Ash Arora as Rebecca Lloyd/The Ocean/Gonzalo; Kayla Bush as Diana Blake/The Bad Map/Trinculo; Joey Taylor as Brad Allen/The Snow Heavy Branch; Ross Rubright as Craig Cale/The Pleaser/Antonio and Celeste Gardner as Oliver Kendall/Fragrance Fellow/Sebastian.

They all mesh in perfect harmony, jagged as it is to depict the stakes of saving the world from nefarious villains while they carry on phone conversations. Their agility with each other is a joy to witness.

The creative team is a league of its own too – costume designers Liz Henning and Eric Widner (the logo!), lighting designer Jayson Lawshee, and music by Joey Taylor. It’s all dandy work – and with the simple Batcave-like set, really adds to the atmosphere. All the office-type props provide the sight gags, too.

Stage Manager Jimmy Bernatowicz and assistant stage manager Morgan Schindler keep the flow brisk. It is presented without an intermission.

The Midnight Company has produced Maher’s “It Is Magic” and ‘The Hunchback Variations,” and their partnership is an enriching artistic endeavor.

Cashion’s superpowers, to create such an entertaining and enthralling show, are on full display here. And her merry band of good guys deliver — they are heroes for more than a day.

Photo by Joey Rumpell.

The Midnight Company presents “Spirits to Enforce” Thursdays through Saturdays at 8 p.m. through May 18 at The Kranzberg Black Box theatre in Grand Center. Ticket information is available at www.metrotix.com or for more information, visit www.midnightcompany.com

Everybody Wants to Rule the World in a Striking ‘The Lion in Winter’

Everybody Wants to Rule the World in a Striking ‘The Lion in Winter’

By Lynn Venhaus

The rapacious 12th Century Plantagenet Family behaves as badly as the modern-day Roys of Manhattan and The Duttons of Montana, a rogues’ gallery of royal connivers in “The Lion in Winter.”

That’s one of the many reasons why The Midnight Company’s bracing production is fun – and riveting – to watch because sparks fly, and flames are fanned in a master class exercise in acting.

Director Tom Kopp has lit a fuse under his finely tuned ensemble so that they burn bright, crackling with big birthright energy while delivering virtuosic performances: Joe Hanrahan, Lavonne Byers, Joel Moses, John Wolbers, Ryan Lawson-Maeske, Michael Pierce and Shannon Campbell.

As the formidable ensemble tackles each aristocratic character like a predator setting a trap for his prey, they often strike a playful, comedic tone but mainly heighten the drama’s intensity because their massive ambitions collide in a winner-takes-all battle. The prize: inheriting the crown of King Henry II of England.

Multi-hyphenate award winner Joe Hanrahan plays mega-manipulator Henry with a smirk and a gleeful vitality, emphasizing his skills at being a disrupter and poster boy for “It’s Good to Be King.” He met his match with his older ‘bride,’ Eleanor, the richest and shrewdest woman in the world who bore him four sons, but they sure don’t care much for them, except as pawns in their epic face-offs.

James Goldman’s 1966 play is set at a contentious Christmastime in 1183 in a castle in Chinon, France, on land still owned by the British ruler. The classic dysfunctional family is hanging festive holly, but they are far from jolly.

That’s to be expected, with the mom – who tried to overthrow the king awhile back — about to return to prison, where she’s been kept by her husband for 10 years, and then dear old domineering dad put the three bad-tempered sons in the dungeon. His firstborn has died. Sounds – and looks like – a holiday in hell.

The wannabe kings. Photo by Joey Rumpell

With anger and resentment thick in the air and mulled wine flowing, swords are brandished and emotions erupt as conflicts ensue. You can see the wheels turning in their cunning little heads. Kopp has briskly staged the posturing, maneuvering, embracing, and shouting so that we’re kept off-guard and suspicious.

The group is tangled in one–upmanship, some more obvious than others – but it’s apparent the amount of trust and respect among the actors that allows them to have a field day with the material and each other.

One of the grand dames of St Louis regional theatre, Lavonne Byers ascends to her lofty perch as the crafty and regal queen – and in a savvy display, she doesn’t telegraph what she’s doing until it’s done, so smooth in the takeovers.

The two-time St. Louis Theater Circle winner and frequent nominee devours anyone in her path as the legendary Eleanor of Aquitane, the role that won Katharine Hepburn her third of four Academy Awards in the 1968 movie version.

As the mom-and-pop puppetmasters, Hanrahan and Byers are spirited in doing the Tango Queen as they dance around – and this battling couple actually loves one another. But as to which of their three chips off the old block will take over the kingdom is quite a game of chess.

Richard, the warrior, as in “The Lionhearted,” won’t be denied, but neither will the pre-Renaissance Machiavellian Geoffrey, bitter about being passed over, and they both are out of favor because the youngest, an immature buffoonish John, is daddy’s favorite. (Maybe because they both behave like petulant children.)

The terrific trio of Joel Moses as the steely soldier Richard, John Wolbers as sly schemer Geoffrey, and Ryan Lawson-Maeske as spoiled brat John lock into their characters seamlessly.

I’m not concerned about their characters’ ages – Richard, 26; Geoffrey, 25; and John, 16, and you don’t have to be either – it’s called acting, and they’re very good at creating full-bodied portrayals. When you have actors not usually known for playing villains in amoral roles, it’s delectable. (Also, smart choice to not have English accents).

The French kids. Photo by Joey Rumpell

Then complicating things are those testy French folks staying there, unpleasant attitudes flaring up – the young King Philip, 18, who’s been in charge for three years, and his sister, Alais, 23, who besides being a princess is supposed to be engaged to Richard but is Henry’s very young mistress. That’s another soap opera, but she may be the most ruthless of all.

Alais has been in the castle for a long time, pretty much raised by Eleanor. Strange bedfellows indeed. Shannon Campbell and Michael Pierce are strong in those roles, setting themselves apart from those high-maintenance Plantagenets but still crafty. After all, the new king is itching to go to war with England.

The creative team has delivered a vibrant staging, with stage manager Karen Pierce keeping the action from sagging. With a well-appointed set design by Brad Slavik, well-lit by lighting designer Tony Anselmo, and vintage props collected by Miriam Whatley, the look is a pleasant replica of nooks in a drafty castle. Costume designer Liz Henning demonstrates her considerable gifts outfitting the royals in impressive fabrics, textures, embroidery and finery.

A special touch is original music composed by Susan Elaine Kopp that gives it an authentic cultural  “welcome to the almost Renaissance” sound.

If you like diving into history, you may enjoy finding out who succeeded Henry. Spoiler alert: the tall fighting man. But that should be its own sequel.

The Midnight Company’s invigorating production makes the past become an absorbing power play by movers and shakers that leaps off dusty pages of an Encyclopedia Brittanica. Long live the kings in a not-to-be-missed show.

The Midnight Company presents “The Lion in Winter” from Oct. 5 to Oct. 21, with performances at 8 p.m. on Thursdays, Fridays and Saturdays, and at 2 p.m. Sundays on Oct. 8 and 15 at the .Zack Theatre,

Mom and Pop. Photo by Joey Rumpell

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.

Comfortable Cast Contemplates Life’s Unpredictability in ‘The Years’

Comfortable Cast Contemplates Life’s Unpredictability in ‘The Years’

By Lynn Venhaus
Life and death. Lost and found. Weddings and funerals. The big picture and small moments. Cindy Lou Johnson’s “The Years” mulls it all over, and a pliant cast grasps their roles astutely in a bittersweet production from The Midnight Company.

A family comedy-drama written in 1994 and presented in St. Louis some years ago by the Orthwein Theatre Company, its universal themes again connecting in the intimate space of The Chapel. Joe Hanrahan directed the current show, and the latter.

The two-act framework, at first, seems like a familiar scenario: preparing for a small wedding with chaos all around two sets of cousins. Is any family spared drama on special occasions? Not in my experience – but we’re one of those who puts the ‘fun’ in dysfunctional, so the turmoil is relatable.

And this family is indeed ‘off-center.’ “The Years” is resolute in accepting the quirky, with characters going through different phases of understanding through a 20-year period. As the two sisters Andrea and Eloise, Alicen Moser and Summer Baer suffer both in silence and then out loud. They are fine, delicate actresses who excel at their craft.

Alicen Moser. Summer Baer. Photo by Joey Rumpell.

Their flakier cousins Isabella and Andrew are counted on to get things done, and Ashley Bauman and Joey File are terrific in comic relief as bossy, neurotic older sister Isabella and slacker, yet contemplative, younger brother Andrew. Newcomer File is the show’s breakout star, and one to watch.

It’s Andrea’s wedding day, but she is delayed by an inconvenient mugging that’s left her visibly bruised and emotionally battered. Meanwhile, her sister Eloise has problems of her own. They are both fragile, anyway, as they deal with their mother’s suicide soon after their father’s death.

They move on after that turbulent day, and 13 years pass. It’s time for another family wedding, and the cousins come together after struggling through the unpredictability of life. The last act takes place three years later, and this is where it stretched credibility, but it had me up to that troubling end, which didn’t feel like a ‘wrap up.’

The confident cast makes the most of a jagged little play, for they are a finely calibrated ensemble, smooth in their deliveries and comfortable on stage with each other.

In particular, the four cousins are convincing in projecting their shared bonds. While their lives intermingle, we get snippets of their characters through the skills of the performers – because the character backstories are slim.

Rounding out the cast, Michael Pierce and Joseph Garner may seem like interlopers, but their roles are anything but random. In only one scene, Pierce is assured as Eloise’s husband Jeff and Garner, a powerful presence in recent stage appearances, is a conflicted stranger Bartholomew, a lost soul that re-emerges throughout the play. He is prone to giving advice after life-altering events: “My life didn’t change – I changed my life.”

Hanrahan, a master storyteller on his own, has a knack for connecting people through art. A creative dynamo during the coronavirus public health crisis, he pivoted with original material, and keeps challenging himself and his casts with intriguing projects – well-known or new.

An experienced fight choreographer, Pierce (“Twelfth Night” by St. Louis Shakespeare Festival and “Murder on the Orient Express” at The Rep) set up authentic confrontations.

Competent design work was handled by Brad Slavik on set, Miriam Whatley on props, and Tony Enselmo on lights. Liz Henning’s costume designs are always outstanding

While not profound, “The Years” is a thoughtful reflection on connection, curveballs in life, and how our lives are impacted in roundabout ways, and ever more relevant after a global pandemic shutdown.

Summer Baer and Michael Pierce. Photo by Joey Rumpell.

The Midnight Company presents Cindy Lou Johnson’s “The Years” from July 13 to July 29 at The Chapel Performances are Thursdays, Fridays and Saturdays at 8 p.m., with Sunday matinees at 2 p.m. on July 16 and 23. Tickets are on sale at metrotix.com. For more information, visit www.midnightcompany.com

The Midnight Company’s 2023 season continues with extended performances of “Just One Look” July 19, Aug. 16 and 30 at Blue Strawberry; “You Made Me Love You” July 26, Aug. 2 and 9 at Blue Strawberry; “Humans of St. Louis” at the St. Louis Fringe Festival Aug. 15-21, and “The Lion In Winter” Oct. 5-21 at the .Zack.

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

Sunny Jennifer Theby-Quinn Is Looking for Love in ‘The 12 Dates of Christmas’

Sunny Jennifer Theby-Quinn Is Looking for Love in ‘The 12 Dates of Christmas’

By Lynn Venhaus

The promising new direction of the Westport Playhouse as a live entertainment venue bodes well for the future, and the one-woman holiday show, “The Twelve Dates of Christmas,” appeals to merry revelers.

Actor/playwright Ginna Hoben wrote this personal comedy that was first performed in 2010, and it’s a heartfelt and humorous chronicle of her dating hits and misses during a calendar year.

After starting out the mega-holiday season with Thanksgiving at her family’s home in Ohio, the lead character Mary must endure the humiliation of seeing her fiancé kiss his co-worker on national television during the Macy’s Thanksgiving Day Parade. This is after he bailed on the trip, saying he was ill.

Oh, the horror of the life you expected vs. the real world is the gift that keeps on giving during the Christmas holiday and beyond. And those pesky female relatives that offer advice or judgment or know better.

Mary is an actress, and obviously a drama queen, sharing her rocky journey. The versatile Jennifer Theby Quinn dials it up to 11 sometimes to depict the jilted, bitter, and frustrated single woman. She does find the funny in the pathos – I mean, you kinda sorta must for survival.

She conveys a gamut of emotions, as she allows herself to jump back into the dating world. Some of the romances are weird, creepy, absurd, and comical, which leads to cynicism, but there are glimmers of hope – and more heartbreak.

The material lends itself to broad interpretations, and in its format, is not as polished as the Hallmark Channel rom-coms, yet there are nuggets of recognition in the hook-ups.

When fate intervenes in a good way, Theby-Quinn is at her best in the quieter, more touching moments — those heart-on-sleeve confessions, and revelations where she is at her most natural.

The genuine encounters with a charming little boy playing Tiny Tim in a production Mary is in are designed to tug at the heartstrings. And Theby-Quinn is effective in depicting the sweetness she experiences dealing with such an innocent 5-year-old. You can feel your heart melt as hers does (and she differentiates the characters well).

A sunny presence, Theby-Quinn is energized by the audience and works hard to engage them. To keep the show lively, director Lee Anne Mathews has kept her moving all over the stage so it’s not as boxed in as other solo shows.

That’s a lot of stamina for 90 minutes, and it’s a demanding run as well (nearly a month). She’s a tenacious trouper, familiar with the space, after playing Kate Monster in “Avenue Q” in 2019 and Fiona in “Flanagan’s Wake” in early 2020, then forced to shut down during the coronavirus lockdown.

Theby-Quinn is one of the most skilled performers in St. Louis, impressive in dramas, comedies, and musicals, earning two St. Louis Theater Circle Awards and multiple nominations.

She can plum more emotional depths, given tougher material, as these lightweight vignettes are designed to mostly elicit laughs and resonate. (But does an actress in the big city? Of course – because she’s as exhausted as other single women — “One hundred and twenty-five jackasses it takes to meet one decent man!” is my favorite line. We can all empathize).

Single women who have been unlucky at love and those who have had good relationships that didn’t work out, can understand Mary’s quest for Mr. Right. Perhaps the material would be more endearing if there was a guy to tango with, but Mary ‘s tasked with performing other characters (about a dozen) vocally, and that helps.

The snazzy production values – a large LED screen adds perky images and clever animated artwork from master video designers Margery and Peter Spack – help to open it and add to the storytelling, instead of having a boxed-in feeling that can typically happen in solo shows.

It was late in the run when I saw it, and the sound was distorted at times, but according to colleagues who had seen it on different nights, it was just fine, no problems.

Jacob Baxley incorporates a fine mix of songs to enhance the holidays throughout the year, and Dan MacLaughlin’s lighting design adds warmth. Liz Henning is listed as a wardrobe consultant, and that’s always a good sign. Lenny Mink’s and Kurtis Gibbs’ video editing and photography enhances the show, as does Joel Wilper’s work as an audio/video technician.

One can understand the desire for a crowd-pleaser at this crazy-busy time of year when everyone’s trying to have a joyous holiday season, and that this is a tad overzealous in trying to ramp up the jolly.

But the sincerity and goodwill evident both on and off stage works in its favor.


“The 12 Dates of Christmas” runs from Nov. 25 to Dec. 23 at the Westport Plaza, in the Westport Plaza Business and Entertainment District. Because of COVID-cancellation at the run’s end, a special 2 p.m. performance on Dec. 30 has been scheduled and tickets available at the box office. For more information, visit www.thewestportplayhouse.com

With Plenty of Heart and Soul, ‘St Louis Woman’ Celebrates Trailblazers

With Plenty of Heart and Soul, ‘St Louis Woman’ Celebrates Trailblazers

By Lynn Venhaus

Love has got everything to do with it. The costumes are gorgeous, the musicianship splendid and the legendary subjects all deserving of the spotlight in the reverent play with music, “St. Louis Woman.”

Local playwright Joe Hanrahan, Midnight Company’s founder and artistic director, has a deep knowledge and interest in local history as well as an affinity for and expertise in popular music.

In this enjoyable, affectionate showcase brimming with good beats and striking visuals, Hanrahan honors local legacies by presenting their impact on the world through an earnest young singer, Laka.

Laka is a relative newcomer on the local music scene, having performed her first cabaret at the Blue Strawberry in April 2020, and she does not have any experience regional theater.

This work is her stage debut – and it appears that her collaboration with Hanrahan took them both to their happy place. She is a likable performer, projecting perseverance and positivity, even if she is acting novice with more to learn.

Laka embodies their important traits of dedication and resolve as Hanrahan, also the director, unfolds snapshots of Josephine Baker, Tina Turner, Katherine Dunham, Maya Angelou, Fontella Bass, Ann Peebles, and Willie Mae Ford Smith.

The women are all artists with some connection to St. Louis, whether they were born here, grew up here or moved her during their adult years. You might not have heard of everyone but by the end of the show, they will all be memorable.

Hanrahan reveals interesting tidbits about their lives while Laka tells their story in looks, voice and career/life observances. Each woman could be celebrated in their own show, but this ties them intrinsically together, in small-batch narratives.

Hanrahan knows how to mine key details from his copious research to make the script flow. It’s well-constructed with moments big and small.

“They brought this city to the world with their music, dance and poetry,” he said.

The accompanying music, with cool cats Corey Patterson on keyboards and Gabe Bonfili on percussion, had a fun vibe. They excelled at keeping the tempo upbeat and the mood pleasant – nice, easy and kicked up a notch. Bruce Bramoweth’s contributions as a music consultant helped set the piece, too.

Enhancing the show immeasurably is Liz Henning’s stunning costume designs – she captured each period and personality perfectly. The red-sequined mini-cocktail dress Laka rocked as Tina was a wow!

An accomplished video designer, Michael Musgrave-Perkins has done exceptional work with archival footage and vintage documents to convey time periods for each woman, setting us in a ‘you are there’ format. The selections are first-rate and the presentation polished.

Ashley L. Tate has executed appropriate choreography, particularly the iconic Banana Dance by Josephine Baker, and Tina Turner’s vivacious gyrations.

Lighting Designer Tony Anselmo and Production Designer Kevin Bowman helped create the look that set the mood and the groove.

Straightforward and sincere, “St. Louis Woman” raises the voices of some remarkable women, leading lights once rolling on the river. It’s a remembrance to savor, a pride to share and world-class names forever linked to our city’s tapestry.

Laka. Photo by Joey Rumpell.

The Midnight Company presents “St. Louis Woman” Oct. 6-22, Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. (Oct. 9 and 16) at the .Zack Theatre, 3224 Locust in the Grand Center Arts District. For more information, visit www. midnightcompany.com.

Midnight Company’s Fine Performances and Skilled Craftsmanship Sharpen Explosive ‘Rodney’s Wife’

Midnight Company’s Fine Performances and Skilled Craftsmanship Sharpen Explosive ‘Rodney’s Wife’

By Lynn Venhaus

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

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

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

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

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

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

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

Kelly Howe as Fay. Photo by Joey Rumpell

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

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

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

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

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

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

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

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

Summer Baer and Ben Ritchie. Photo by Joey Rumpell

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

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

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

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

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

Photo by Joey Rumpell

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

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

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

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

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

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

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

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

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

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

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

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

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