Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

By Lynn Venhaus

An invigorating energy, combined with an intriguing neo-noir atmosphere, mark an unforgettable milestone production of William Shakespeare’s most famous work, “Hamlet” as this year’s 25th St. Louis Shakespeare Festival in Forest Park offering.

Director Michael Sexton’s novel interpretation is moody and minimalist, with scenic designer Scott C. Neale’s striking mid-century modern setting. Sexton follows through his stylistic vision with a noteworthy flair.

From the bold first appearance of King Hamlet’s ghost (Larry Paulsen), the prince’s father, one can sense we’re in for electric, thrilling storytelling, and these inspired choices bring out the best in the impressive ensemble.

Think the angsty howl of James Dean in “Rebel Without a Cause” combined with Robert Pattinson’s emo rendering of tormented Bruce Wayne in “The Batman” for this new-age Hamlet. After all, no one out-broods this iconic prince of Denmark.

Raw, confrontational and reeling in emotional distress, Michael Khalid Karadsheh is mesmerizing as the boy – to the manner born — who comes home from college in Germany to learn of a “murder most foul.”

The play within a play. Photo by Phillip Hamer.

His father has been killed, and his mother Gertrude (Jennifer Ikeda) has married his uncle Claudius (Glenn Fitzgerald), who has seized the throne. He is the leading suspect in his stepson’s eyes and ever the manipulator, is trying to cast doubt on Hamlet’s stability.

“Something is rotten in the state of Denmark,” military sentry Marcellus (CB Brown) fears. Meanwhile, a war is brewing. Hamlet is a powder keg of emotion as he plunges into a downward spiral, suspecting corruption and abuse of power. A sense of foreboding is palpable.

Written around 1600, Shakespeare’s tragedy endures because of rich characters, complicated relationships and sharp observations about human nature. In the pastoral setting of Shakespeare Glen, the festival team blows the cobwebs off your English lit textbook with a fresh look at these Danish royals.

That includes a dynamic black, white, and red palette with shades of gray for unconventional statement designs – in Oana Botez’ functional, comfortable costumes (reminiscent of The Beat Generation and “Mad Men” wardrobes), Denisse Chavez’ atmospheric lighting emphasizing dramatic shadows, and Neale’s layered set. You won’t miss a palatial setting for Elsinore Castle.

Scott C. Neale’s striking set. Photo by Phillip Hamer.

The innovative dramatizing includes a versatile thrust stage (just like Shakespeare’s Old Globe) – 50 feet that juts from the standard proscenium stage. This allows for a more intimate connection with the actors.

And if you are waiting to be wowed by Hamlet’s soliloquies, Karadsheh’s emotional pleas are in optimum positions, and his commanding delivery of one of the most famous literary passages is a joy to behold. Drink every word in of the beautiful iambic pentameter.:

“To be, or not to be, that is the question
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep, perchance to dream—ay, there’s the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there’s the respect
That makes calamity of so long life.“

Sarah Chalfie as Ophelia. Photo by Phillip Hamer.

Consumed with guilt, rage and confusion, Hamlet is acting out, and not in a good way, alarming those closest to him. His mother sends for his Wittenberg University chums Rosencrantz (Mitch Henry-Eagles) and Guildenstern (CB Brown), hoping they can shed light on the situation.

His gal pal Ophelia (Sarah Chalfie) is scared, her brother Laertes (Grayson DeJesus) startled, their caring father Polonius – Claudius’ counselor – upset, and his best friend Horatio (Reginald Pierre) worried. It doesn’t help that he keeps seeing disturbing visions of his dad’s ghost.

Meanwhile, cunning Claudius is forcing power plays and mistrust to protect his secrets and lies. “That one may smile and smile and be a villain,” and Fitzgerald suits him well. Thus, Hamlet’s rebellion will bring more sadness, madness and losses.

Hamlet, Gertrude and Claudius. Photo by Phillip Hamer.

Most of all, the regal Gertrude, dressed in elegant ballgowns and cocktail attire, symbolizes wealth and aristocracy. Ikeda, who appeared as Juliet here in the fest’s inaugural production, contrasts with the young characters representing the need to explore and discover, find their purpose while they question moral decay.  

Hamlet’s disgust at his mom’s choices couldn’t be clearer — “The lady protests too much, methinks.” He can’t get past what he perceives as her betrayal.

You know exactly where Hamlet is coming from when he tells Horatio: “There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy.” As Hamlet’s best friend, Reginald Pierre is a harmonious Horatio, his eloquence shines through, as he does in every Shakespeare role.

Pierre is masterful in delivering a heart-tugging “Goodnight, sweet prince, and flights of angels sing thee to thy rest!”

Gertrude, Hamlet. Photo by Phillip Hamer.

Mark Nelson excels as busybody Polonius, who is doomed by his meddling. When he advises his son and daughter “To thine own self be true,” the audience erupted in applause.  He also delivers the often misquoted “Though this be madness, yet there is method in’t.”

No matter how much he tries, he can’t save his emotionally bruised daughter, who can’t cope with losing her parent. Sarah Chalfie is outstanding in her robust portrayal of Ophelia, one of the best I’ve seen.

She’s no fragile flower, not the usual whiny or showing too ethereal qualities, and instead gives a fully formed rendering of a psychologically battered young woman raised to be sweet and pretty, but there’s an independence and intelligence that she brings out too.

In real life, Chalfie is responsible for helping to save the day when original cast member Vaughn Pole was injured and unfortunately needed to be replaced as Laertes. Chalfie knew actor Grayson DeJesus had played the part twice before, and he came to the rescue. Considering that he had only four hours’ rehearsal before opening night May 30 and was so vibrant on stage was a remarkable feat. His dexterity and fervor were exceptional.

Hamlet, Ophelia. Photo by Phillip Hamer.

The supporting roles are fluidly handled by Max Fiorello, Daisy Held, Charlie Mathis and Ryan Omar Stack. Henry-Eagles and Brown also capably play another role other than their sharp preppies Rosencrantz and Guildenstern, and Larry Paulsen is also effective as the gravedigger, in addition to the fatherly spirit.

The presentation’s nifty flourishes in no way overshadow the passionate performances, for this tight ensemble rises to the occasion – it’s lucid, riveting and rhythmic in a way that the audience leans into the gripping action and the heartfelt agony.

Another outstanding addition to this year’s set is an eye-popping moving, motorized room that rolls up and down the stage on tracks, especially in the pivotal Polonius eavesdropping scene.

Perhaps music personifies this tale more than any other staged in recent years – although fine local musicians have added such gorgeous sounds in the previous comedies ‘As You Like It,” “Twelfth Night,” “Much Ado About Nothing” and “A Midsummer Night’s Dream.”

Music director/Composer Brandon Wolcott’s jazzy score played by East St. Louis trumpeter Brady Lewis is an integral part of the storytelling,. and recorded music sets the cinematic tone and heightens the ominous tension that builds in intensity.

Rosencrantz and Guildenstern, talk to Hamlet, center. Photo by Phillip Hamer.

Special mentions to choreographer Sam Gaitsch for her 50s ultra-cool dance moves, Zev Steinrock for his taut fight choreography, Laura Skroska as the key props master, stage manager Sarah Luedloff and assistant stage manager Britteny Henry for their brisk work, producer Colin O’Brien and assistant director Heather Anderson for assuring that all the elements come together in fine fashion.

This nontraditional dark adaptation is refreshing because its artistic accomplishments feel organic, and its collaborative creatives and cast dazzle without artifice for a truly enthralling evening. The play’s the thing! A haunting and hypnotic “Hamlet” starts the summer off with an exclamation point, and more is in store from St Louis Shakespeare Festival — with “Romeo and Zooliet,” the touring company’s “A Midsummer Night’s Dream” in 34 parks and an original St. Louis Shake in the Streets in East St. Louis.

St. Louis Shakespeare Festival presents “Hamlet” May 28 through June 22, nightly at 8 p.m. except Mondays in Forest Park’s Shakespeare Glen (near Art Museum). Admission is free but special seating is available for a fee. For more information, visit www.stlshakes.org

Laertes and Hamlet fence. Photo by Phillip Hamer.

Ace Ensemble Invigorates Upstream Theatre’s Classic ‘Life Is a Dream’

Ace Ensemble Invigorates Upstream Theatre’s Classic ‘Life Is a Dream’

By Lynn Venhaus

Pondering a conundrum like destiny or free will is what the Spanish classic drama “Life is a Dream” aims to do.

Because the material is from a different era and country, a director’s key quest would be to cast the right people to re-energize a verse translation for a modern audience. And thoughtful chronicler Philip Boehm did just that – he gathered a dream team to fulfill his vision in a superbly produced Upstream Theater play.

They added the polish, he delivered the panache for this stimulating allegory about illusions vs. reality. Its broader appeal speaks to the blurred lines and political uncertainty of today.

The 1635 play by Pedro Calderon de la Barca, a legendary literary figure, comments on the Spanish Inquisition, and how it used the law to combat heresy. At issue was religious freedom and scientific truths vs fundamentalists and Biblical doctrine. This version was translated by G. J. Racz, a humanities professor, in a 2006 Penguin Classics publication.

Gary Glasgow and Reginald Pierre. Photo by ProPhotoSTL.

On a barren stage, with only a chair and a set of chains visible in a scenic design by Patrick Huber, a royal tale of birthright, palace intrigue, and political maneuvering unfolds in a precise, methodically composed way that emphasizes intricate motives and flawed humanity.

The setting is Poland and Russia plays part in the power-jockeying underway. That a 17th century work could captivate an audience 400 years later is a credit to the talent on stage but also the creative team behind the scenes.

Calderon, regarded as one of the most distinguished playwrights of his time, grappled with perceptions vs. what really happened, which is parallel to today’s acceptance of ‘alternative facts.’

Boehm uses that dichotomy to tell this story in the style of the Spanish Golden Age, a period also marked by Miguel de Cervantes’ “Don Quixote” in 1605, for reference. (If the framework reminds one of the Elizabethan era, that’s certainly valid, too).

Boehm, an astute student of history, has made Upstream’s focus, since 2005, one of bringing contemporary and classic world theater that “move you, and move you to think.” He is looking for a deeper connection here between the past and present concerning fate and reason.

And that assignment is understood by the nine performers – one of Upstream’s larger casts – who invigorate that space and command attention at every turn.

Jerry Vogel as the king. ProPhotoSTL photo.

Emerging from (semi) retirement to portray the resolute ruler King Basil, Jerry Vogel reminds us why he is considered one of St. Louis’ finest actors. In his 10th Upstream appearance, he convinces as a man of contradictions — a mathematician swayed by superstition and intent on preserving his power through a prophecy.

Paying heed to an oracle, he imprisoned his son, Segismund, at birth, so that he couldn’t become a threat, challenging his father’s authority – and even kill him.

It’s now 25 years later, and second thoughts have led him to free his son from captivity, basically unleashing a beast – but as a test, physically and psychologically – to see if he could turn over his kingdom to the prince.

In a fierce performance, Reginald Pierre lashes out as the incarcerated heir, confused by his freedom and struggling with decision-making. If given the chance to defy his fate, can he? Or will emotions rule from the heart and not the head?

Of course, he wreaks havoc at the palace, but the king has put a safeguard in place – if he feared his son’s actions, he’d jail him again, drug him, and say it was all a dream.

Jennifer Theby-Quinn and Mitch Henry-Eagles. ProPhotoSTL photo.

Then, he would abdicate so his niece and nephew could ascend to the throne. First cousins Astolf (Mitchell Henry-Eagles), Duke of Moscow, and Stella (A.J. Baldwin) are a pair not to be trusted.

Rosaura (Jennifer Theby-Quinn) enters the picture, a Russian noblewoman disguised as a man, so she can exact revenge on Astolf, who behaved very badly in the name of love. She and her servant Clarion (Alan Knoll) are in a jam. Their horses have run off, and they discover the secret tower where Segismund is chained.

The plot thickens as secrets are revealed. Clotaldo (Gary Glasgow), the king’s right-hand man and old nobleman, discovers that a secret he has kept for years, has now materialized with the sword Rosaura possesses. It is the one he left in Moscow that he intended for his child. Rosaura is unaware that he is her father.

As supporting players, Bryce A. Miller and Michael Pierce capably fill multiple roles as guards, servants and soldiers. Pierce was also the fight coordinator for the show.

Pierre’s dynamism is matched by the ensemble’s crisp delivery and spirited characterizations. Their understanding of the text speaks to the experience of the veterans in the cast, those who have performed in local Shakespeare and classic literature presentations.

Theby-Quinn, a three-time St. Louis Theater Circle Award winner, always brings a vitality that stands out on stage, even when the roles are as confined gender-wise, as a 17th century female fighting for her honor, would be. She’s as robust as Knoll is funny. His Clarion has fun playing the fool that he’s been pigeon-holed as, making him even more amusing.

Alan Knoll as Clarion. Photo by ProPhotoSTL.

Costume Designer Michele Friedman Siler’s use of various textures in royal attire is striking, as is Steve Carmichael’s lighting design, adding to the moody atmosphere. Philip Boehm and Sabria Bender’s sound design was flawless.

The creative team included Jane Paradise as assistant director, Patrick Siler as stage manager, Brian Macke technical director, and Emma Glose on props.

When rebels free the prince from the tower, Segismund has learned a great deal – and above all, lessons of love and forgiveness. The storytelling has a few surprises, so it’s not as easy to predict, but ends optimistically as honor is restored.

To borrow from that enlightened period, to dream an impossible dream – bear sorrows, right wrongs, and keep hope alive, is a noble endeavor that leads to more understanding. “Life Is a Dream” makes a case for living in the present, but also keeping dreams alive, and Upstream underlines that with exclamation points.

Jerry Vogel and AJ Baldwin. Photo by ProPhotoSTL.

Upstream Theater presents “Life is a Dream” Oct. 18 – Nov. 3 at The Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. Performances are Thursday through Saturday at 8 p.m. and Sunday at 2 p.m., with a special evening performance instead at 7 p.m. on Oct. 20. The play runs 2 hours and 20 minutes with an intermission.
Bohemian Thursday is Oct. 24, and all tickets are $15. For more information, visit www.upstreamtheatre.org

Theby-Quinn and Pierre. ProPhotoSTL.

Shakespeare TourCo’s Playful ‘The Tempest’ Makes a Big Splash at Local Parks

Shakespeare TourCo’s Playful ‘The Tempest’ Makes a Big Splash at Local Parks

By Lynn Venhaus

On an enchanted evening at local parks, you’ll be swept away to a far-off island, where mischief, magic and mayhem will ensue. This is a brave new world, where puppets are part of the storytelling and lovely music enhances the experience.

It’s one of those gratifying adventures that you will remember long after the summer’s heat has faded.

St. Louis Shakespeare Festival’s TourCo annual traveling show is a 90-minute adaptation of the Bard’s dramatic-tinged romantic comedy “The Tempest,” which is free each evening beginning at 6:30 p.m. at 24 parks in Illinois and Missouri from July 30 – Aug. 25.

Featuring a merry band of spry performers who appear to be constantly in motion, the six take on multiple roles. They will introduce themselves and their characters, and draw you into this tale of family squabbles, revenge, betrayal — and sorcery. Maybe it’s not exactly Paradise Island, but it is accessible Shakespeare.

The fine-tuned ensemble includes Joy Christina Turner as Prospero, the Duke of Milan who is a wizard too. He escaped to a remote island with his infant daughter Miranda (Daisy Held) years ago, because his deceitful double-crossing brother Antonio (Reginald Pierre) took over his dukedom with the help of Alonso (Alex Daspit).

Prospero has two very quirky servants – Caliban (Isaiah Di Lorenzo) and Ariel (Aliyah Jacobs) that carry out his schemes. He is determined to get his territory back and conjures up a storm so that his brother’s boat is shipwrecked, leaving Antonio and Alonso stranded.

Alonso’s son Ferdinand (Alex Daspit) is also there, as is Prospero’s trusted minister Gonzalo (Isaiah Di Lorenzo). Ferdinand is heir to the throne and Prospero puts him together with his now 15-year-old daughter, hoping a royal marriage is in their future.

The king’s jester Trinculo is played by Daisy Held and his head servant Stephano is played by Reginald Pierre, and they are a daffy duo. Held is also a spirit and Jacobs is a boatswain.

There are plans to thwart, people who must change their ways, a young couple to keep innocent, and meddling spirits.

Directed by Tom Ridgely with a big splash of whimsy, he favors broad strokes for the performers to play to whatever size crowd has assembled – and deal with whatever kind of conditions that spring up outdoors.

Ridgely is the festival’s producing artistic director, and under his guidance, they have shaped summers quite imaginatively the past few years post-pandemic – with its revered annual month-long offering in Forest Park; Shake in the Streets, where they take a hand-crafted show and bring it to a festive neighborhood setting; and this touring company, which has grown into delightful flights of fancy adapted for various park locations.

With such an esprit de corps, players are reminiscent of an old-timey troupe (think “Rosencrantz and Guildenstern Are Dead” and ‘The Fantasticks”) immersed as these strolling troubadours.

The addition of songs and puppets really enrichthe production values, and the stagecraft is exceptional in elevating the experience. Because the show’s presentation is focused on mobility and makeshift exteriors, the costumes, props and scenery are not hidden backstage, but placed off to the side, for folks to witness the process. Breaking the fourth wall, so to speak.

The clever costume designs by Sam Hayes consider the flexibility needed and differentiate the multiple characters, outfitting the females in airy, ethereal textures and the men in flamboyant brocaded jackets.

This play involves a masque, which was a popular technique in Renaissance England to combine music, dance and drama, so this is where the puppets come in, and they are effective in advancing the plot.

Puppet designer Ryan Marshall and puppet fabricator Taylor Abs created three tall imposing figures that mimic goddesses and smaller marionettes you find in puppet theater. They created dogs ready to attack, too. Abs also managed the props.

Stage Manager Britteny Henry kept everything moving without any glitches on the evening I went, and they have an admirable system in place.

The show was created for audiences of all ages, so pack a picnic, grab some chairs or a blanket, and experience a communal adventure that is a singular sensation.

SCHEDULE

July 30 – Spring Church, Grand Center
July 31 – Old Post Office Plaza, St. Louis
Aug. 1 – Metter Park, Columbia, Ill.
Aug. 2 – Schroeder Park, Manchester, Mo.
Aug. 3 – Carondelet Park, St. Louis
Aug. 4 – Frank Holten State Park, East St. Louis
Aug. 6 – Tower Grove Park, St. Louis
Aug. 7 – Lot at St. Ann & Augusta St., Normandy, Mo.
Aug. 8 – O’Day Park Amphitheater, O’Fallon, Mo.
Aug. 9 – Cortex Commons, St. Louis
Aug. 10 – 14th & St. Louis – Old North, St. Louis
Aug. 11 – Shaw Park, Clayton, Mo.
Aug. 13 –  Brussels Heritge Park,  Brussels, Ill.
Aug. 14 – Chesterfield Amphitheatre,  Chesterfield, Mo.
Aug. 15  – Ivory Perry Park, St. Louis
Aug. 16 – City Park, Edwardsville, Ill.
Aug.17  – January-Wabash Park, Ferguson, Mo.
Aug. 18 – Bellevue Park Bandstand, Belleville, Ill. 
Aug. 20 – 370 Lakeside Park Pavilion, St. Peters, Mo.
Aug. 21 – Fairground Park, St. Louis
Aug. 22 – Tisch Park at Washington University, St. Louis
Aug. 23– Love Bank Park, St. Louis

For more information, visit www.stlshakes.org.

Lissome Acting and Distinct Points of View Mark This Year’s ‘LaBute New Theater Festival’

Lissome Acting and Distinct Points of View Mark This Year’s ‘LaBute New Theater Festival’

By Lynn Venhaus

This year’s LaBute New Theater Festival dives right into blistering topical commentary on our great societal divide, and while “Safe Space” is one of the playwright’s sharpest one-acts in the fest’s nine-year history, the best play is about a troubled prizefighter who hasn’t been in the news for decades.

“One Night in the Many Deaths of Sonny Liston” by JB Heaps of New York City is a masterfully constructed conjecture about what might have happened the night the former heavyweight champion died on Dec. 30, 1970.

Both plays feature Reginald Pierre, who has frequently been a part of the festival since it began in 2013, and next to his outstanding work as Lincoln in “Topdog/Underdog” that same year, this is his finest hour, as Sonny Liston and as a theatergoer in “Safe Space.”

In a revelatory performance as Liston, Pierre conveys bravado, hurt, resentment, and toughness recounting how, as a celebrated and feared sports figure, he faded from glory as his bad boy reputation persisted.

Considered an outsider, his difficulties adjusting to fame, and those demands that led to his downfall are documented by Heaps in clever dollops of dialogue, as Liston opens up to a professional escort delivering a “Christmas present” from sordid types he does business with, at his home in Vegas.

While only hinted at, these presumed underworld figures are connected to a multi-state mob syndicate. All very shady, the real details are murky, and Heaps weaves a plausible tale because the tango Pierre does with Eileen Engel, playing this mysterious woman, is riveting.

With a world-weary air and looking glamorous in a glitzy evening gown, Engel’s smoothness makes us question whether she’s compassionate or has ulterior motives, and the more Liston spills the tea, what is her story?

As Pierre, who does not physically resemble an imposing boxer, skillfully peels back layers on Liston, he divulges a litany of hard-knock life injustices, his triumphs in the ring, and his torment over being blacklisted by the boxing establishment.

Eileen Engel, Reginald Pierre. Photo by Patrick Huber

Through exposition, Heaps shares key facts about one sharecropper’s son, born in Arkansas, an ex-con who knocked out Floyd Patterson, tussled with Muhammad Ali, hobnobbed with the rich and famous – and is included in the famous artwork on The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover. For real!

Thoughtfully directed by Kari Ely, she lets the drama unfold naturally while Pierre and Engel establish a rhythm, keep each other sharp, projecting both a mutual like and a distrust. It was one of the few plays in the line-up that was gripping until the very end.

The climactic impact is genuine, bolstered by the superb performances but also Heaps’ knowledge of the subject. A second-act playwright at 71, he retired from a television career as an executive producer for Showtime Sports where his shows on boxing won five Emmy Awards. (As they say, write what you know).

Liston’s death has remained suspicious for some 50 years, fueled by knowledge that he was a heavy drinker and used heroin. While no one knew for sure, his age was estimated at 40. His wife, Geraldine, whom he married in 1950, was from St. Louis and there visiting her mother over the holidays. She discovered his body about two weeks after authorities think he died.

Because Pierre gives emotional heft to a tragic, larger-than-life figure, you may want to find out more about the guy, nicknamed “The Bear,” and there is a 2019 Showtime documentary called “Pariah: The Lives and Deaths of Sonny Liston.”

Heaps’ play opens the second act, while “Safe Space” kicks off the presentation.

Engel, Anthony Wininger. Photo by Patrick Huber.

LaBute, the provocateur, through shrewd writing and supple performers, tackles the current state of “us vs. them,” the culture wars and racial friction in the U.S., in “Safe Space.” It is through the theatrical lens that he explores how we got to this point and is today’s state of outrage histrionic or necessary.

Here, he seats a privileged white woman (Jane Paradiso) next to a black theatergoer (Reginald Pierre) for a performance advertised as a special evening for African Americans to come together for this show, although they allowed others to purchase tickets too. The Man attempts to be polite in the shared space, but the Woman feels his agitation, and let the verbal sparring begin.

LaBute, the longtime playwright and screenwriter, has written a new work for every festival, and his highly verbal and rhythmic dialogue is well-suited for one of his favorite themes – political correctness. And add the divisive climate now infiltrating every aspect of daily life, and let the fur fly.

We’re at a point where any little thing we say — whether misunderstood, taken out of context, or deemed inappropriate, will be used against us in the public court of opinion. And is anyone really listening anymore or just shouting to be heard? “Safe Space” touches on all those notes.

The points of view here are strong, so if you wince at any confrontation, be warned. But it is a lively exchange that does come to some sort of truce. And a time capsule entry for 2023.

Paradise is captivating as a woman huffy about being perceived as entitled, but then demonstrating why one could understand that observation and Pierre easily throws shade with some glances and reactions, defensive about why he’s pitching a fit. Both are deft in their delivery, and John Contini astute in his direction of the rapid-fire, razor-sharp piece.

Laurel Button, Colleen Backer. Photo by Patrick Huber.

Like LaBute’s play, the others utilize the intimacy of the black box stage to their advantage. The festival features works that have up to four characters.

The other three dramas in the line-up this year include “The Blind Hem” by Bryn McLaughlin of Oregon, “DaVinci’s Cockroach” by Amy Tofte, and “The Mockingbird’s Nest” from Craig Bailey of Vermont.

I heard someone in the audience compare the offerings to a box of chocolates. The plays, always a mixed bag, are memorable when they are a touch strange and keep us off guard. Others prefer less edge, but different is better than staid.

In any case, the talent is usually affecting, and this year, the format lends itself to their particular strengths. Colleen Backer, who excels at portraying eccentrics, is a jittery scientist named Dana whose work destroys things. Perhaps she’s soulless, she seems guilty about the way her life has gone. Loathe to connection, she does engage with a staff member, Finn, who is having a bad day at an art museum in “DaVinci’s Cockroach.”

They talk about things trivial and big-picture, and you want to know more about the pair, to an extent. But hen Tofte just goes on for far too long. But Laurel Button is impressive as a kooky, colorful young woman for whom art brings joy.

“The Blind Hem” is a melancholy-tinged romance between a college professor and a former student – hence named after the ‘invisible’ stitches in a garment, and is one of those character studies where you have to read between the lines to fully grasp what is happening, and what transpired before we entered their cheap motel room. Anthony Wininger is Robert, a conflicted man fooling himself about life, while Eileen Engel is Kate, no longer in school but still naïve.

They’re fine, although unsympathetic, but does McLaughlin’s play say anything new or explore another facet of an illicit romance that we haven’t seen before?

“The Mockingbird’s Nest” takes on another familiar topic – an aging parent’s dementia but does so with a technological twist. We’ve wound up in the twilight zone, and that’s a clever aspect of Craig Bailey’s piece. But despite Backer and Paradise’s splendid portrayals, the play ultimately loses steam by not trimming what seemed to be a tacked-on ending.

The production crew is efficient in setting the scenes for each show, and Abby Pastorelli’s costume design nails each personality in a simple yet effective way. She also did the artwork shown, which is for sale.

A 10-member panel selects the plays from submissions across the country. It’s nice to see a rebound from the pandemic that halted theater, then delayed its reboot with those pesky variants.

The presentations offer food for thought, an opportunity to see something thought-provoking and watch local performers shine, but best of all, support new work.

Backer, Paradise. Photo by Patrick Huber

St. Louis Actors’ Studio presents the ninth annual LaBute New Theater Festival July 7 to 9, July 13-16, and July 20-23, with performances at 8 p.m. Thursday through Saturday and at 3 p.m. on Sundays at The Gaslight Theater on North Boyle in the Central West End. For more information: www.stlas.org

Strong Acting Complements Rich Voices in Stirring ‘Lost in the Stars’ Opera

Strong Acting Complements Rich Voices in Stirring ‘Lost in the Stars’ Opera

By Lynn Venhaus
Managing Editor
A compelling plea for compassion and understanding, Kurt Weill’s mighty “Lost in the Stars” will break your heart and uplift your spirit in Union Avenue Opera’s stirring production.
This ambitious vibrant opera features more than 50 performers, many new to the art form, and that provides some of St. Louis’ finest dramatic artists with an opportunity to stretch their acting muscles. Under Shaun Patrick Tubbs’ fluid direction, they seamlessly blend into Weill’s powerful operatic retelling of “Cry, the Beloved Country.”
Alan Paton’s 1948 novel is set in South Africa during the 1940s era of apartheid, a time of great racial and economic divide. Adapted the following year into the opera “Lost in the Stars,” Weill wrote his last score, and famed historical playwright Maxwell Anderson wrote both the book and lyrics.

This hard-hitting work resonates today, demonstrating a need for humanity in a time of intolerance, misunderstanding and prejudice.
Rev. Stephen Kumalo (Kenneth Overton) travels to Johannesburg, and hopes to locate his son, Absalom (Myke Andrews), whom he hasn’t seen for a year. At the railroad station, he talks to Arthur Jarvis (Stephen Peirick), a white lawyer who is a benefactor of the church and believes in treating all people the same. He is with his disapproving father, wealthy plantation owner James Jarvis (Tim Schall), whose bigotry runs deep.
While Absalom is out on parole for a crime and is living with Irina (Krysty Swann), pregnant with their child, he is convinced to be part of a burglary with two others. It’s at the Jarvis plantation, but Arthur walks in and is shot by Absalom, who got flustered and scared. A legal scheme is hatched for acquittal but Absalom will have none of it, he confesses and while honorable, will be sentenced to death.
The Reverend can’t save his son, and the elder Jarvis has lost a son too. Eventually some common ground can be achieved. But it’s a hard road, and old ways must be forgotten to forge a new understanding.
In an emotional powder-keg of a role, Kenneth Overton soars with his potent baritone and poignant renditions of every number.  He pulls everyone’s heartstrings tight and has the ability to take your breath away and reduce you to tears. His showstopping “Lost in the Stars” delivery to close Act I is haunting and will remain one of my favorite and best moments of Union Avenue Opera’s 24th season.
He anchored an outstanding youthful ensemble displaying a notable energy and passion. Speaking roles included Jeanitta Perkins as Grace Kumalo, Stephen’s wife and Absalom’s mother; Reginald Pierre as Stephen’s lawyer brother John; Carl Overly Jr. as burglar Matthew Kumalo, Abraham Shaw as burglar Johannes Pafuri and Chuck Lavazzi as parole officer Mark Eland. Their mastery of their Afrikaner accents and their projection was noteworthy.
Tim Schall and Stephen Peirick excelled in their roles as the Jarvis father and son on opposite ends of their beliefs.
Myke Andrews, who was impressive in The Black Rep’s “Torn Asunder” and Metro Theatre Company’s “Bud, Not Buddy,” turned in his best work yet as Absalom. He is stunning, maneuvering a wide range of emotions with conviction. His ‘goodbye’ scene will rip your heart and have you reaching for tissues, along with soprano Kristy Swann as Irina, showcasing a warm rich voice.
Rising star Melody Wilson has a fetching turn as Linda and Roderick George sang the Leader role with authority.
Young Charlie Mathis, so impressive as Dill in “To Kill a Mockingbird” at The Rep, was at home here as Arthur Jarvis’ young son, Edward, as was Sherrod Murff as Alex, Stephen Kumalo’s nephew. Sherrod delivers a sweet solo song at a time where a break from all the intense melodrama was welcome.
Artistic Director Scott Schoonover conducted the orchestra with crisp precision, emphasizing the cultural context in a meaningful way. And the orchestra was quite robust.
The creative team also contributed key elements to the overall period feel of the production. James W. Clapper’s lighting design was eloquent, and his “stars” lighting a few at a time was just beautiful. Teresa Doggett’s costume design nailed the time and place, as did Roger Speidel’s minimal set design that doubled as multiple interiors with ease.
“Lost in the Stars” delivers a forceful message with not only an urgency but with kindness. It remains a timeless work of historical significance that needs to be seen now.
“Lost in the Stars” is presented by Union Avenue Opera for four performances Aug. 17, 18, 24 and 25 at the Union Avenue Christian Church. For more information, visit ww.unionavenueopera.org.

Photos by John Lamb