Fly North’s Updated ‘Madam’ Charms with its Female-Forward Focus

Fly North’s Updated ‘Madam’ Charms with its Female-Forward Focus

By Lynn Venhaus
Spotlighting attitude and intrigue, a still-vivacious “Madam” has been nipped, tucked, and excised into a promising female-forward musical focused on womanhood’s advancement in this third go-round.

At the center is a fascinating account of Eliza Haycraft, one of St. Louis’ most notorious businesswomen, who ran a brothel and was known for her philanthropy in the late 19th century.

Born in 1820, Haycraft arrived destitute in St. Louis at age 20. She couldn’t read or write. Eventually, she bought commercial and residential property, then rented it back out.

A champion of ordinary folk, she was loved by the public, helping the poor and offering financial aid. During and after the Civil War, she supported widows and orphans affected.

The opening song, a statement, “Empire” touts her achievements building her business, and Haycraft became the wealthiest local woman during the Reconstruction Era. The tribute is the show’s catchiest earworm and emphasizes modern sensibilities.

“Madam” takes place during the last year of her life – Haycraft died in 1871 at age 51. She still had enough gumption to fight to be buried in Bellefontaine Cemetery. (She won, but to date, her grave doesn’t have a headstone).

Kimmie Kidd as Eliza Haycraft. Photo by Cady Bailey.

But despite the passage of The Social Evils Act of 1870 making her business legitimate for a brief time, she was shut out of polite society, even with the town’s upper crust, political bigwigs and business scions her patrons. Ye olde double standard.

In fact, the law was detrimental to the women – denied habeas corpus (unlawful detention) to women arrested for prostitution and had a fee/tax instituted, not to mention unlimited police power to search homes and people. Aren’t we having this discussion now about who has control over women’s bodies?

The women who worked for Eliza that she nurtured and took good care of get more attention this go-round. Their personal experiences are woven in, and Haycraft seems more of a supporting – but integral – role.

As she has in all three versions, Kimmie Kidd owns the role, and commands the stage. Kidd is well-known for her star power on local stages, and she shines here as a smart, pragmatic, trailblazing woman. She has two richly textured solos – “Friends” and “Dinner for One.”

Kidd knows how to sashay and make her mark. She also joins her girls in a robust “The Grateful Imposter” finale.

Taken under her wing are a spunky quartet – Adrienne Spann as gutsy Billie, Lillian Cooper as naïve Tennie, Avery Lux as agreeable Ripley, and Rachel Bailey as jaded Calista bring sass and spirit to the working girls.

Rachel Bailey as Calista. Photo by Cady Bailey.

They are also devoted to Eliza, as their song “It’s Because of Eliza” indicates. Haycraft empowered them by allowing them to refuse service to anyone. She had three simple rules: Respect, Consent and Pay Up Front. She also believed “No debts among women.”

They support themselves through prostitution but assert independence at a time when they have few legitimate rights. Girl power ahead of its time, and this show leans into that.

Adrienne Spann, whose star is on the rise, brings ambitious Billie to vivid life in such songs as “Another Fence” and her solo “Joy.” Her character is a composite of historically strong women, including an escaped slave who disguised herself as a man to fight in the Union Army.

Rachel Bailey has found a niche in playing outspoken, sagacious women, and Calista is a bold version of that. Her spidey sense is revealed in an exchange with Mercy that leads to the new number, “La Fille Evanouie.”

Think of Calista as the tough-love mom with a world-weary view of life, but ever the intuitive and shrewd woman looking out for herself.

With Calista, the feisty group numbers include “Special,” “The Great Imitator,” “It Feels So Good” and “Another Pastime.”

Adrienne Spann sings “Another Fence.” Photo by Cady Bailey.

The young Tennie and Ripley appear to be squabbling, but through their journey, grow up under the ladies’ influence. Their characters are not as distinct as the others, but Lillian Cooper and Avery Lux are energetic, enthusiastic performers.

The new downtrodden kid in town, actress Mercy Jones, is hiding a secret, but Madam takes a shine to her, and she ingratiates herself into the quarters. They all have one thing in common, though – dreaming of a better life.

Jade Cash is mysterious as Mercy – we are kept off-guard but sense her conflicted nature. She announces her intentions in her solos “Man with Money” and “Star.” She joins the working girls for the playful “Love is Work.”

When she has a change of fortune in the second act, she joins the girls in the opener “Mercy’s Empire.”

Unbeknownst to the other girls, Mercy is the sister of The Benefactor, an over-the-top villain modeled after dastardly vaudeville archetypes. In a departure from his usual likable protagonist roles, Dustin Petrillo oozes unctuousness, no scruples detectable.

He lusts after the downtown property so he can amass more power through the St. Charles Street real estate, and resorts to nefarious tactics. Petrillo is dynamic – and depraved — in “All the Money in the World” and duets with Kidd in the power play “All of This Goes Away.”

Dustin Petrillo as The Benefactor. Photo by Cady Bailey.

Accomplished composer Colin Healy and his dedicated creative partner, multi-faceted Bradley Rohlf, have rewritten, reworked and re-mounted the musical at their Greenfinch Theater and Dive Bar for Fly North Theatricals.

It’s Healy’s sixth original musical, and he not only wrote the music, infusing the score with St. Louis-flavored blues and jazz, but also the lyrics and book.

After a workshop at COCA, the musical was staged in 2019 at the Bluff City Theater in Hannibal, Mo., which commissioned the work. Fly North mounted it here in January 2020 at the .Zack.

This update has slashed six songs and reconfigured others to make the show tighter. While the vocalists harmonize well, one of the drawbacks was the sound was too loud for the space during Saturday, July 26, presentation.

That, and this current reliance on singers trying to be powerful when in fact it becomes a cross between screaming and belting, or ‘screlting,’ to the detriment of pleasant-sounding melodies.

The repetitive nature of this new direction detracts from the likable performers’ commitment to their parts, not to mention strain on voices.

The streamlined musical numbers also benefit from Cady Bailey’s choreography, with an exceptionally skilled Lux standing out as a well-trained dancer.

While the songs have strong rhythmic hooks and clever lyrics, the book could still use some tweaking. A few plot threads are muddled, including Calista’s illness (real or fake?) , what is so attractive about Eliza’s location and some unanswered questions in a desire to wrap the show up.

Jade Cash as Mercy Jones. Photo by Cady Bailey

In the two previous versions, Mercy and The Benefactor were husband and wife. This version is stronger by making them siblings.

For this production, director Sam Hayes keeps the pace brisk, the women alert and enabled, and makes sure each has moments to shine.

As costume designer, too, they also adorned the characters in eye-catching finely textured outfits and finery that enhances the show’s visual appeal.

Healy is the musical director and Rohlf is the technical director and lighting designer. Both worked on the set design, which created a homey, cozy feel with a parlor and bedroom for Calista in the intimate space.

Katie Orr painted the set with its intricate stencil work, Kel Rohlf gathered the period props, and Dizzy Funke was production and stage manager, with Dereis Lambert production assistant and light board operator. Aslyn Damerval was the dramaturg and Rhiannon Creighton the intimacy coordinator.

Shining a spotlight on a prominent but little-known 19th century woman, “Madam” is an alluring musical that draws potency from its modern parallels. The one-of-a-kind Haycraft is worth researching to find out more about a well-lived life.

A lovingly crafted piece presented with sincerity and obvious talent, one hopes it finds a way to flourish and prosper, much like the title character deserved.

Fly North Theatricals presents “Madam” from July 25 to Aug. 10, with performances at 7:30 p.m. Thursday through Saturday and 2 p.m. Sunday at the Greenfinch Theater and Dive Bar, 2525 Jefferson Avenue. For more information, visit www.flynorth.org.

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

By Lynn Venhaus

A personality-driven low-key charmer, the musical ‘[title of show]’ offers a fresh perspective with its vivacious gender-bending cast.

And what’s not to love about a 20-year-old original musical that is unapologetically OK with being “nine people’s favorite thing than a hundred people’s ninth favorite thing”?

In a world of “Cake Boss” and “The Great British Bake Off,” why not choose to be a Rice Krispie Treat? (Nothing wrong with that – and you can have one at intermission, too).

Prism Theatre Company is presenting this enjoyable modest production in two acts with a disarming all-femme quartet of performers and one expert musician accompanying them on keyboard.

Mallory Golden serves as the music director, and they are called “Larry.” They have an occasional spoken line of dialogue and comical in their timing.

They have guy names because Prism did not change those characters when they cast women. The musical’s creators – Jeff Bowen wrote the music and lyrics, Hunter Bell the book – are called Jeff and Hunter, and played by a spunky pair, Katie Orr and Jaelyn Hawkins.

It really doesn’t make a difference – it’s entertaining from this point of view because it is brimming with sly theatrical references and features a classic struggle about pursuing your dreams, no matter what obstacles. Their ambition resonates.

It’s also a tale of friendship, those pals who get you through tough times, who encourage and collaborate – and work through tension and chaos. The four principal actresses project the camaraderie that is necessary to make this show work, under the adroit direction of Sam Hayes.

Being gender-fluid doesn’t change how meta this musical is, because they are two friends who are theater artists writing a musical about writing a musical. Their first goal together is to send in an original work to the inaugural New York Musical Theatre Festival – only its deadline is three weeks away.

Their frantic, fraught creative process, with their real-life obstacles, are what makes the show unique to them. The time and place are New York City, 2004. Starving artists whose endgame is Broadway have their own sets of issues, which factors into the show – all driven by the mindset “If you can make it here, you can make it anywhere.”

And from there, their goals get bigger, their challenges more daunting, and their exasperations and aspirations escalate. It’s clever and funny in a very natural, authentic way.

Rounding out the cast are their two friends they cast in their show. Rachel Bailey is sassy, snarky Susan, a comic actress whose day job is an office worker, and Savannah Fernelius is assertive Heidi, a polished performer who wonders if she is doing the right thing hitching her wagon to this project. They are based on Susan Blackwell and Heidi Blickenstaff, who not only were in the show, but were part of the process.

It is a wild rollercoaster ride of emotions for the quirky characters, all who have skin in the game. They yearn for fame and recognition. They persist. They want to matter, find their place in the world.

The creative team may be “Two Nobodies from New York” but they want to be “Part of It All.” Why not dream big? (“The Tony Award Song”).

The two writers are imaginative and capable. Their progress is chronicled in such witty ditties as “An Original Musical” (with the proverbial blank piece of paper) and “Filling Out the Form.”

Their brainstorming techniques are hilarious in “Monkeys and Playbills.” The second act’s stakes are captured in “Montage Part 1: September Song,” “Montage Part 2: Secondary Characters” and “Montage Part 3: Development Medley.”

The four are not only nimble at comedy, but can crisply sell a showtune with strong melodic voices.

Katie Orr, Rachel Bailey and Jaelyn Hawkins. Photo by Cady Bailey.

The Susan-led “Die, Vampire, Die!” is an ingenious way to vanquish demons and doubts, and Bailey is good at animated delivery.

In her professional debut, Fernelius makes quite an impact with silky-smooth vocals, and powerfully delivers a stunning “A Way Back to Then.” She has been standing out in college and community theater and is indeed ready for her close-up.

The show’s offbeat approach obviously differentiates from fairy tale-fiction in a land of enchantment (“Into the Woods” references abound, by the way). The quartet are more self-aware than naïve, more jaded and cynical about the highs and lows in life yet wear their hearts on their sleeves and they wish.

Their strengths and weaknesses are fully on display, not unlike those four unfiltered millennials in the HBO television series “Girls” that ran for five seasons. Raw and real, they aggravate each other and express their feelings.

Hunter fires off torrents of profanity, easily upset and distracted. (You can imagine him/her erupting at the neighborhood association meeting). Hawkins is funny in her no-holds-barred character’s tendency to go to DEF-CON 1.

Like many well-meaning longtime friends, Jeff knows how to deal with Hunter, and Orr is instinctive in her portrayal of the one who isn’t prone to histrionics.

There is a mature content advisory: “This play contains heavy adult language and open discussion of adult content. Audience discretion is advised.”

The pair of actresses playing actresses are creating an identity through their roles – “I Am Playing Me” and are initially at odds with each other – “What Kind of a Girl Is She?”

Savannah Fernelius is Heidi. Photo by Cady Bailey.

This is Prism’s first musical, and as a love letter to musical theater, it’s an interesting exchange of ideas and talents. It’s yet another version of “The Little Engine That Could,” showbiz style.

And in their hands – heartfelt. Co-producers Joy Addler (managing director) and Trish Brown (artistic director) founded this regional professional theater troupe with the mission of supporting women. This season’s theme is “Raise Your Voice.” I’d say this choice is apt.

The earnest presentation has a rough-around-the-edges quality yet has the enthusiasm of Judy Garland and Mickey Rooney gathering the neighborhood kids in those “Hey kids! Let’s put on a show!” old-timey musicals – but instead of a barn, they’re in a minimalistic rehearsal space with four chairs.

On a much smaller scale, this show follows the world-building on display in big-deal beloved musicals like “A Chorus Line,” “Singin’ in the Rain,” and “Dreamgirls.”

While it may not have a showstopper like “What I Did for Love,” the substantive songs showcase their doubts, fears, instincts, hopes and dreams in a relatable way.

Cady Bailey’s choreography is appropriate for the characters and incorporates snappy theatrical dance moves in an endearing way.

The quartet’s fervor for this material is perceptible, so is their warmth. The way they work together is specific, which adds a distinctive flavor to the show. There isn’t a whiff of artifice or slickness, rather a gutsy “Take us as we are” attitude.

And their work-in-progress show is constantly expanding and involving, as they adapt, evaluate, revise, re-evaluate, and have hissy fits. “Change It/Don’t Change It” illustrates those efforts, and “Awkward Photo Shoot” is a full-out meltdown of dysfunction.

Scenic designer Caleb D. Long has kept things basic and functional, with a nifty arrangement of frames that light up, and the noteworthy lighting design by Catherine Adams is effective. Golden also did the sound design, which is without issues in the intimate Kranzberg Black Box.

Their costumes, designed by Hayes, are everyday casual, look like out-of-their-closet selections. The sense of a team effort, with Sadie Harvey assistant director and props master, Katie Smith props artisan, carpenter William Higley, along with technical director Caleb D. Long, Golden, and Adams is apparent.

Bell and Bowen may not be as well-known as Pasek and Paul or as hip as Kerrigan and Loudermilk, but their memorable original work “[title of show]” earned awards nomination and elevated their credentials.

Bell, a graduate of Webster University’s Conservatory of Theatre Arts, won an Obie special citation award and was nominated for Drama League, GLAAD Media and Tony awards for best book of a musical. Bowen won an Obie special citation award for the music and lyrics.

After the musical debuted at the festival, two years later it opened off-Broadway at the Vineyard Theatre in 2006 and then moved to Broadway two years later, at the Lyceum Theatre, in 2008.

Proactively, in hopes of mounting the show at a Broadway theater, Bell and Bowen created a video blog, called “The [title of show] Show” that documented the musical’s progress and featured famous guest actors in episodes that went viral. In Episode 8, mission accomplished: the New York Times announced the show’s opening date at the Lyceum. (The show continued as a web series with a season 2, music videos and specials.)

What Bell and Bowen have learned the hard way – albeit with a delightfully improbable successful run about what all goes into making a musical — (and they did it before “Something Rotten!”) – can be summed up through the words of philosopher Ralph Waldo Emerson: “It’s not the destination, it’s the journey.”

This cast’s exuberance and the creative team’s efforts result in a satisfying tag-along adventure. Its candor and cheekiness are refreshing. And yes, that was Sutton Foster leaving a voice mail rejecting their offer. Touche!

Prism Theatre Company presents “[title of show]” weekends through Sept. 8.  Performances take place at the Kranzberg Center in Grand Center, 507 N Grand Blvd, St Louis, MO 63103. For more information: prismtheatrecompany.org.

For tickets, visit https://www.metrotix.com/events/detail/prism-theatre-company-title-of-show

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.

Impressive Performances Power Prism’s Spiritual Drama ‘Doubt’

Impressive Performances Power Prism’s Spiritual Drama ‘Doubt’

By Lynn Venhaus
Strong performances mark Prism Theatre Company’s stirring interpretation of the fascinating and complex “Doubt: A Parable,” which pits a progressive well-liked young priest against a conservative rigid nun who is the feared school principal, plunging us into a nebulous gray area.

The year is 1964, a time when America was reeling from the assassination of President John F. Kennedy, the Civil Rights movement was emerging, and Catholics would be adapting to the monumental Vatican II (1962-65).

At a Catholic school in the Bronx, Sister Aloysius Beauvier suspects Father Brendan Flynn, also the physical ed teacher, of molesting an altar boy, scrutinizing every word and action of the parish priest. Without any evidence, she shares her accusation with Sister James, an eager and inexperienced young teacher.

Sister James, sweet-natured, is drawn into her superior’s distrust with her own suspicions, and Rhiannon Creighton superbly reflects the naivete and people-pleasing character of Sister James.

Kate Durbin, Rhiannon Creighton. Photo by Kim Howland

In a fiery performance, Kate Durbin commands every scene she’s in as the embodiment of the typical strict take-charge disciplinarian we recall from our parochial school days. She is laser-focused in portraying the nun’s unbending resolve, and you feel her bristle at every example of what she finds offensive about the priest, who has opposing views to her black-and-white view of human nature. She’s as inflexible confronting modern ways as the priest is open to making the church more accessible.

Jeffrey David Thomas expertly conveys the assertive Father Flynn, making it clear his view of outreach is very different from Sister Aloysius. He projects the vibe of the ‘cool priest’ who thinks sister’s harsh opinions are a detriment to moving the church forward.

After all, the second Vatican council stressed renewal and unity, opening up participation with the laity and focused on what the pastoral needs of parishioners were. Flynn is convincingly committed to reach his ‘flock,’ and from the pulpit, communicates through sermons that are parables, not so much actual truths.

John Patrick Shanley’s masterful 2004 play, which won the 2005 Pulitzer Prize for Drama and the Tony Award for Best Play, always has made people uncomfortable, as they examine questions of faith, belief, traditions, and human behavior.

Shanley, Oscar winner in 1988 for his original screenplay of “Moonstruck,” has inserted some spot-on humor, particularly when the priest and the two sisters discuss plans for the school Christmas pageant. He wants to add a secular popular song. He also takes – gasp – three lumps of sugar in his tea.

Kate Durbin, Laurell Stevenson. Photo by Kim Howland

Shanley cannily set this explosive story when the U.S. was undergoing political and social changes, which provides another intriguing angle to the layered narrative. In the Catholic Church, Pope John XXIII and Pope Paul VI addressed the needs of modern congregations.

In trying to make the parish more of a welcome guidepost, is Flynn hiding inappropriate behavior? Or is the principal twisting his views as a personal vendetta?

The pupil that is the target of his extra attention is the only black student in the school, Donald Muller, and Laurell Stevenson is riveting as his mother, who attends a meeting arranged by the principal. She knows her son’s challenges, pointing out that she values opportunities over innuendo. Without raising her voice, in her sole scene, she lays down real-world gravitas, and emotionally delivers a raw and honest analysis about her son thriving or failing at school and in life.

This battle of wills between two authority figures is deftly staged by director Trish Brown, who doesn’t waste a precious second in allowing feelings of uncertainty to seep into our collective conscience.

Because of the nuanced performances, tension effectively mounts, and – squirming may occur. It’s not-so-subtly unsettling, and the 85-minute play is presented without intermission. Does sister’s unwavering sense of duty triumph? We are meant to be the jury and the judge, and the debate isn’t always certain, depending on how powerful the production is.

(And it goes without saying, in light of the revelations of sexual abuse cases on a global scale in the Catholic Church in recent decades, we’re looking at this narrative through that rear-view mirror). That’s why the performances are so crucial to match the sharp dialogue.)

The dynamic exchanges between the cast take place in either the sister’s office or an outdoor garden on the grounds and scenic designer Matt Stuckel has admirably transformed the intimate confines of the Kranzberg black box theatre.

Jacob Baxley’s sound design, Tony Anselmo’s lighting design, Sam Hayes’ costume design and Caleb Long’s technical work strengthened the presentation.

This is a polished production that is convincing in its clarity, with memorable performances that will persuade you to continue the conversation.

Father Flynn. Photo by Kim Howland

Prism Theatre Company presents “Doubt: A Parable” April 21-23 and 28-30 at the Kranzberg Black Box Theatre, with Thursday through Saturday at 7 p.m. and Sunday at 2 p.m. It contains adult themes, suggestions of sexual abuse and some racist language that may be offensive to some viewers.

The box office opens 30 minutes before each performance or purchase tickets online at MetroTix by phone (314)534-1111 or at the Fabulous Fox box office.

Prism Theatre Company Spotlights New Works by Women Aug. 13, 14

Prism Theatre Company Spotlights New Works by Women Aug. 13, 14

Prism Theatre Company announces the playwrights, directors, and cast of Prism’s first annual Spotlight On festival of new works, sharing the stories of women playwrights throughout the bi-state area. Each night of staged readings will be followed by a talkback with the actors, playwrights, and Prism creative team. 

ACADEME.compassion by Dr. Laura Perkins

Friday, August 13th, 2021

Directed by Wendy Greenwood

A whimsical romp inside the final test of graduate school:  an oral defense of the written exams.  The premise of this academic tradition seems simple enough. Yet, three faculty with wildly different motivations complicate what should be a pro-forma ritual.  In comps, an epic battle ensues; passions flare, emotions erupt, and manipulative moves threaten the student’s chances for success.  

Starring: 

Kelly Howe as Dr. Stepoloni

Eleanor Humphrey as Student

Phil Leveling as Dr. Trout

Kay Love as Dr. Fenmore

See the Dove by Laurie McConnell

Friday, August 13th, 2021

Directed by Rayme Cornell

When a friendless white woman encounters a homeless Black man in a city park, their contentious first meeting morphs into mutually satisfying verbal skirmishes as they battle prejudice, loneliness, Sarin, and Spanx to find friendship and love among pigeons and doves.

Starring:
Eleanor Humphrey as Ava/Pidge

Don McClendon as Jay

Kelly Schnider as Evelyn

Stay Awhile by Dana Hall

Saturday, August 14th, 2021

Directed by Wendy Greenwood

Samantha has been concerned about her mother, Janice, since her father’s passing. This play deals with complex grief and how it impacts the entire family.  It illustrates the changing landscape of mother/daughter relationships.  It’s a window into the world most families do not talk about.

Starring: 

Carmen Garcia as Janice

Kelly Howe as Samantha 

Bandera, Texas by Lisa Dellagiarino Feriend

Saturday, August 14th, 2021

Directed by Trish Brown

A dramedy about marriage, motherhood, and the women who came before us and paved our way, “Bandera, Texas” follows Liz, a native New Yorker forced to relocate to the Texas Hill Country for her husband’s job. She is visited by her long-dead grandmothers, who help her adapt to her new life and remind her that an uprooted woman can grow wherever she is replanted when she knows who she is and carries the people and places she loves inside her. 

Starring: 

Carmen Garcia as Genevieve

Sam Hayes as Liz

Kay Love as Mary

Jeffrey David Thomas as Dave & 11 others

Tickets are $10 minimum donation and can be pre-purchased through the Prism website.  

The mission of St. Louis’ newest professional performing arts organization, Prism Theatre Company, is to promote the work of women and emerging artists, on stage and off, through the lens of theatre for the new world.  We produce both new and classic works in an atmosphere of inclusivity, where artists from all walks of life can come together to explore our common humanity. Prism is creative collaboration, without the cliques.

Prism Theatre Company is the brainchild of Trish Brown and Joy Addler, St. Louis-based theatre-makers and longtime collaborators.   

Trish Brown, a professional director, actress, and theatre educator, has directed regionally, as well as in Canada.  She is a proud associate member of SDC, the Stage Directors and Choreographers Society.  She holds an MFA in Directing from the Chicago College of Performing Arts at Roosevelt University and worked professionally in Chicago for a number of years before returning to the St. Louis area.   A process-based, ensemble director, Trish is trained in and utilizes a number of acting methods in her work while specializing in the Michael Chekhov technique.  She is a founding member of The Moving Dock Theatre Company, a Chicago-based company dedicated to the actor’s creative process through the use of the Chekhov technique.  Theatre education is also a passion of Trish’s and she has taught in regional arts programs such as COCA in St. Louis and Hinsdale Center for the Arts in Chicago.  She is now a Professor of Theatre at Principia College.  Her educational productions have won numerous recognitions, including two Best Production for the  State of Illinois awards from the Kennedy Center American College Theatre Festival.  Trish also loves directing film and coaching actors for stage and screen.  

Joy Addler is a St. Louis area stage manager, company manager, and nonprofit professional. A proud graduate of The Conservatory of Theatre Arts at Webster University, Joy has a BFA in Stage Management and is currently pursuing her Master’s degree in Nonprofit Management. She is also a member of the Actor’s Equity Association. Currently, Joy works as the Performing Arts Manager for Variety the Children’s Charity, overseeing their inclusive chorus and dance programs throughout the year, as well as serving as the Company Manager and Production Stage Manager for their annual Variety Theatre production. In addition to her work at Variety, Joy works as a freelance AEA stage manager throughout the St. Louis area.  

Addler and Brown began work on Prism Theatre Company over 18 months ago in a pre-pandemic world.  The company was a long-time dream of these partners who wanted to provide a home for artists from all walks of life to shine, especially women.  “As members of the St. Louis theatre community, and in talking to our friends in the community, we noticed a gap in the opportunities for women to really be at the forefront,” says Joy Addler, Prism’s Managing Director. “We want to provide a safe space for the voices of women to really shine and take center stage.” Though the company’s mission puts women at the forefront, men are also an important part of Prism’s work.  “We love all artists and welcome men into Prism, as actors, technicians, directors, designers, and Board members.  Nothing at Prism is exclusionary,” says Trish Brown, Prism’s Artistic Director.      

Prism is also designed as a home for new and emerging artists.  “Because I’m passionate about theatre education, fostering new and emerging artists was an important aspect of Prism,” says Brown.  “I remember graduating from college with my BA in Theatre and wondering, ‘OK, what now’?  It was difficult to break into the theatre scene in a meaningful way.  Few companies were open to mentoring young artists at that time.  We want Prism Theatre Company to be a place where emerging artists can work with kind, collaborative, seasoned professionals so they can learn, grow, build their resumes, and make connections.”    

Theatre artists who are interested in joining Prism’s Board of Directors or Company may contact Prism at prismtheatrecompany@gmail.com. Prism invites actors to like us on Facebook for access to audition details for future productions. 

ABOUT PRISM THEATRE COMPANY

Prism Theatre Company seeks to champion the voices and stories of women from all walks of life, giving emerging artists a platform to showcase their work with seasoned professionals. We produce both new and classic works in an atmosphere of inclusivity, where artists from all walks of life can come together to explore our common humanity. Prism is creative collaboration, without the cliques.

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