The Black Rep’s ‘Raisin’ Is A Soulful, Expressive Musical That Defines a Moment in American Life

The Black Rep’s ‘Raisin’ Is A Soulful, Expressive Musical That Defines a Moment in American Life

By Lynn Venhaus
What happens to a dream deferred?
Does it dry up
 like a raisin in the sun?
Or fester like a sore—
And then run?
 Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
– “Harlem,” Langston Hughes, 1951

Where are we now, 74 years later? Timely and timeless, the musical “Raisin” is a vibrant exploration of the class, gender and racial divides that have become a dominant part of American life.

The Black Rep’s sensitive, thoughtful production pulses with its character-driven work that hopefully resonates and renews pleas for social justice in today’s divided times.

The iconic poem, “Harlem,” shared above, was an inspiration for playwright Lorraine Hansberry to explore deferred dreams and class divides in 1951 segregated Chicago in her groundbreaking drama, “A Raisin in the Sun.”

Anita Michelle Jackson and Andrea Mouton. Photo by Keshon Campbell.

The matriarch is expecting a $10,000 life insurance check in the mail after her hard-working husband’s passing. She wants to move the family from the South Side to Clybourne Park, a nicer neighborhood, where she has put a down payment on a 3-bedroom, 2-bathroom house. She sees this home as a foundation to build everyone’s dreams on, a door to new opportunities.

Hansberry was the first black female playwright on Broadway – the show debuted in 1959, and it was a new look at black life in America in a way that had not been represented. Think of the dialogues it may have started!

While the musical has hiccups based on its construction, not the singing, dancing or acting, the Black Rep’s stylistic choices and casting decisions are highlights.

The Younger family leaves an indelible impression in the hands of Anita Michelle Jackson (Mama Lena), Duane Martin Foster, (her son Walter Lee), Adrianna Jones (his wife Ruth), their young son Travis (Jaron Bentley), and Walter’s sister Beneatha (Andrea Mouton).

Duane Martin Foster and Jaron Bentley. Photo by Keshon Campbell.

The 1973 musical adaptation, “Raisin,” won the Tony Award for Best Musical in 1974, as well as Virginia Capers winning Best Actress in a Musical for playing Mama Lena, out of nine nominations. It also won the Grammy Award for best musical theater album.

But it has largely been forgotten over time. Landmark musicals of that era – “Purlie” in 1970, “The Wiz” in 1975 and “Dreamgirls” in 1981, signaling a new wave of creative artists, have been produced many times.

The book was co-written by the late Hansberry’s husband, Robert Nemiroff, and Charlotte Zaltzberg. The themes are the same — a family dares to dream of a better life that has been denied them and threatens to fall apart.

The music score by composer Judd Woldin, with lyrics by Robert Brittan, is an intimate story of a family, their daily and big-picture struggles, and real ongoing conversations. That was rare then and remains an unusual approach now.

This musical is an ambitious undertaking, and while the story is absorbing, faithful to Hansberry’s intentions, this isn’t a splashy, bombastic score with extravagant numbers. Still, there is much heart and soul to be discovered.

“He Came Down This Morning” – ensemble church number. Photo by Keshon Campbell.

Emphasizing authenticity and empathy, director Ron Himes depicts the Youngers’ struggles with the help of the creative stage work from sound designer Kareem Deanes and lighting designer Tony Anselmo.

The setting is their cramped, roach-infested apartment, effectively visually realized by scenic designer Tim Jones. But it opens beyond those walls – to a church, bar and streetscape. Mikhail Lynn contributed as a props designer, too.

The exceptional orchestra, led by music director Jermaine Manor, robustly brings out the jazz, gospel, blues and soul.  William Von Hombract is on bass, James Belk on percussion, Des Jones on drums, Mary Weber and Brady Lewis on trumpet, Stan Coleman on reed, Monet Royal and Adrian Walker on viola, David Glenn on guitar, and Manor on keyboard.

Choreographer Kirven Douthit-Boyd’s inspired dance work adds so much to the street life, with expressive moves to the musical beats of the city. Dancers Jorrell Lawyer-Jefferson, Demetrius Malik Lee and Aaliyah Weston are extraordinary in their pieces and group numbers.

Adrianna Jones and Duane Martin Foster. Photo by Keshon Campbell.

The gritty, bustling “Streets of Chicago” and “Runnin’ to Meet the Man” are livelier company numbers because of the choreography, and so is “Booze,” traditional “African Dance” and the ebullient spiritual gospel song “He Come Down This Morning.”

Walter Lee is a chauffeur but wants to open a liquor store and go into business with two other friends. Walter’s restlessness and growing resentments cause more fights between him and his wife and mother, mostly about the money. Mama Lena also wants to put money aside for Beneatha’s studies because she’s attending medical school.

Accomplished, acclaimed singers Jackson and Foster are the epitome of powerhouse vocalists, but to see them slip into the roles of Lena and Walter Lee with all their well-honed skills is to marvel at how natural their acting abilities are as well.

Jackson, who has a song full of hope as the prayerful Lena – “A Whole Lotta Sunlight,” and then a power ballad about resilience “Measure the Valleys” that’s a showstopper.

Jaron Bentley and Adrianna Jones. Photo by Keshon Campbell.

Foster’s sarcastic, bitter “Man Say” with his wife Ruth sets his tone, tired of playing by the rules while his aspirations are dismissed. while he seethes with rage in “You Done Right.”

In a tender moment, Foster and Jones pair on a lovely duet “Sweet Time,” while Jones shines in “Whose Angry Little Man,” a tribute to their son Travis.

In the second act, Foster shows a wider range of emotions, from an ebullient “It’s a Deal” to his anger that can’t be contained in the satirical “Not Anymore,” after a lifetime of disappointment and the bigotry they’ve endured, with his wife and sister participating, too.

The hopeful solo “Sidewalk Tree” is a special moment for the poised and talented Jaron Bentley, who delivers a dynamic performance as young Travis. He stood out at the Muny this summer in “Frozen” and “Evita” as part of the youth ensembles, and he has a bright future ahead with his remarkable stage presence.

A superb Robert McNichols is potent as Nigerian student Asagai, who is a friend seeing Beneatha. His charm shines through in the number “Alaiyo.” Beneatha’s exploration of her cultural awakening is another highlight, as illustrated in her fashion choices – fine work from costume designer Gregory Horton.

Singing in church. Photo by Keshon Campbell.

Supporting roles also include Will Bonfiglio as weaselly Karl Lindner, not exactly a Welcome Wagon for Clybourne Park., and De-Rance Blaylock as neighbor Mrs. Johnson, who literally takes us to church in the spirited number “He Come Down This Morning.”

The ensemble also includes Dwayne Moss III as Willie Harris, Adrian Rice as Bobo, Damari Padilla and Tia Renee Williams.

The ensemble moves well, their passion obvious.

The hope is that spotlighting this work will introduce a new generation to the play or at least remind others of work that still needs to be done.

The Black Rep presents “Raisin” as their 49th season opener from Sept. 3 through Sunday, Sept. 21 at the Edison Theater on the campus of Washington University in St. Louis. For more information: www.theblackrep.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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‘POTUS’ is Audacious Side-Splitting Satire from Tesseract Theatre

‘POTUS’ is Audacious Side-Splitting Satire from Tesseract Theatre

By Lynn Venhaus

The late great Democratic politician Ann Richards, former Texas governor and vocal feminist advocate, once said: “In politics, if you want anything said, ask a man. If you want anything done, ask a woman.”

She also said, “The roosters may crow, but the hens deliver the goods.”

Amen to that. Such is the example of Tesseract Theatre’s audacious side-splitting satire “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” by Selina Fillinger.

The focus is on the subtitle and resembles recent “Saturday Night Live” zingers as we see seven women connected to the U.S. President trying to get through a terrible, horrible, no good, very bad day without a gentle good night in sight, either.

The president’s off-color remark about his wife has created a frenzy, and while his chief of staff and press secretary try to develop a response, other firestorms are brewing. Conditions spiral from there, as zany as a Marx Brothers movie, with nods to “VEEP” and “Noises Off!” as well.

Kelly Schnider as Harriet. Photo by Florence Flick.

Given the world’s current state of affairs, we might as well laugh, and there are plenty of opportunities to do so. Because the alternative is screaming or crying, and we have more chances for that in the continuous “Twilight Zone” loop we’re living in now.

We never see the leader of the free world, but vivid descriptions by the colorful characters piece together an unflattering portrait of an incompetent lout that sure doesn’t appreciate his ninja staff as he should because they deal with his sexual and political fallout. While vulgar, his obscene description of his wife is the least of his problems.

With its spry septet and fleet, whip-smart direction by Jessica Winingham, this regional premiere merges Fillinger’s sly, sharp dialogue and goofy antics into stylish chaos performed with gusto in the Kranzberg Black Box Theatre.

Displaying a farcical team spirit, even at their silliest, the weathered women elevate the nuttiness. Their fierce ‘we’re all in this together’ attitude fuels this stellar female cast.

The best and brightest politicos, now beleaguered, are in various degrees of meltdowns. As Harriet, Kelly Schnider is the epitome of a crisis manager as the sleek chief of staff who has been handling most of the nation’s business anyway.

Sarajane Clark is at her blunt, sarcastic best as Jean, the sharp-tongued press secretary trying to put out fires as soon as the president’s troublemaker sister, haughty unhappy wife, chatty girlfriend and nosy news reporter start them.

Angela Jean Hetz is amusing as Stephanie, the dutiful but hapless secretary who is always worried about losing her job. She throws herself into broad physical comedy with glee, and some blood is spilled.

The other four roles complicate the staff’s workday, which escalates the worsening situation.

Telegraphing B.S. through her facial expressions, Kimmie Kidd is comically delicious as the polished all-image-focused First Lady Margaret, whose line delivery drips with sarcasm as often as possible. She does not suffer fools, although she must act blissfully happy as the president’s spouse.

Angela Jean Hetz and Isa Davis. Photo by Florence Flick.

Isa Davis is a hoot as ditzy Dusty, an unsophisticated smalltown girl who has been invited to the Oval Office to see the president, but she already ‘knows’ him. The disarming Gen-Z’er enlivens the day’s events considerably, using her impressive dance team skills and naivete to benefit them all.

Angelia Prather vies with Davis for the biggest scene-stealer as Bernadette, the president’s black sheep sister, fresh out of prison through a controversial presidential pardon. The drug-dealing lesbian sister also admits to some shady business in the West Wing. She might have the funniest lines of all.

Laurell Renea Costello has fun as Chris, the pushy reporter who overhears and sees things she shouldn’t have, landing in a big puddle of hot water.

Because there aren’t any doors, per se, to dart in and out of, or slam, the creative design dilemma is solved through Winingham’s choice to have moving partitions. This makes the women’s physical comedy unimpeded.

Angelia Prather and Sarajane Clark. Photo by Florence Flick.

Tony Anselmo’s lighting design and Michael Musgrove-Perkins’ sound design add to the atmosphere, with rambling sound bites from the current president and emphasizes the clown-car operations at Pennsylvania Avenue.

Costume Designer Mary Bobbins has made savvy choices suitable for each character’s personality.

Stage Manager Bella Lucero, Production Manager Sarah Baucom and Technical Director Kevin Sallwasser have created an astute playground for power plays, well-suited to achieve success in this production.

While the first act is sharp and skillful, the second act is goofier, often chemically enhanced nonsense – but it’s all madcap, not mean-spirited, in a feel-good but desperate ‘all for one, one for all’ attempt to clean up a very big mess.

Laurell renea Costello as Chris. Photo by Florence Fliick.

While one can pick apart Fillinger’s logic for orchestrating insanity, this delightful cast is so well-choreographed by Winingham that the pleasure is derived from the performances.

Fillinger, who was a staff writer on “The Morning Show,” is clever in her contemporary satire. So is Winingham’s fast-paced direction.

Somehow, the communal laughter is contagious and cathartic, especially at this moment in time. And women indicating there’s strength in community is a lasting takeaway, no matter how pessimistic you are about the future.

Tesseract Theatre Company presents “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” May 22 through June 1 at the Kranzberg Black Box Theatre in Grand Center. For more information, visit tesseracttheatreco.org.

Sarajane Clark as Jean. Photo by Florence Flick

Upstream’s ‘Meet Me at Dawn’ Is Bravely Acted and Profoundly Moving

Upstream’s ‘Meet Me at Dawn’ Is Bravely Acted and Profoundly Moving

By Lynn Venhaus

“Life is what happens to you while you’re busy making other plans” – “Beautiful Boy,” John Lennon, 1980

Grounded but teeming with uncertainty, an off-kilter sense that an alternate reality is emerging for a pair of lost women becomes clearer as we watch them grapple with their fate in Upstream Theater’s compelling, bravely acted two-hander “Meet Me at Dawn.”

As life partners Helen and Robyn, Michelle Hand and Lizi Watt are riveting after they wash up on a distant shore following a boating accident. Dazed and worried about each other, they attempt to get their bearings and find a way home.

But this sandy patch of seascape is not what it seems, nor are they who they appear to be, which will come into focus as their circumstances unfold. This may sound like a twisty sci-fi drama, but playwright Zinnie Harris wrote this as a lyrical meditation inspired by the myth of Orpheus and Eurydice.

This modern fable reveals its goal – tackling love, loss, and grief – during a 90-minute play without intermission. As time and space is disrupted, the performers recreate a mysterious sense of being “in between.”

Michelle Hand and Lizi Watt. Photo by ProPhotoSTL.

Through their distinctive raw and real characterizations, Hand and Watt lead us through the transitional state of “liminality.” This other world is jarring, but how they process fate is a remarkable feat.

We’re watching two actors being present and giving their all in convincing portraits, conveying a range of emotions in a profoundly moving way. The pair’s chemistry is palpable – in moments of tenderness, exasperation and fear. And they convey a dreamlike, surreal state in their body language and exchanges, not just intimacy.

Helen, a scientist who is more high-strung and very funny in mining situations for humor, complements Robyn, who is an academic and more deliberate and less impulsive when speaking, deftly handle the squabbles as well as the caring between longtime companions.

Can they figure out what is real and what is fantasy? Can they trust their memories? Their hope turns to despair, and paranoia mixes with the metaphysical. When the play comes together, you feel what they feel — pain, helpless, resignation, mourning.

Hand, an actor for 25 years whose name in a program means you will always be treated to a robust characterization and often in a thrillingly alive way, has met her match in intensity in Watt.

During the past couple of years, Watt has impressed with vivid characterizations in “The Whale,” “Copenhagen,” and “Pictures from a Revolution.”  With their expressive work, they boost their reputation as being among the best theater artists of their generation.

Photo by ProPhotoSTL

Harris, who is known for specializing in modern interpretations of classic literature, debuted this play at the Edinburgh International Festival in 2017. The Scottish playwright’s work includes “Macbeth (An Undoing),” “The Scent of Roses,” “This Restless House” and “How to Hold Your Breath.”

Perceptively directed by Larissa Lury, she understands the allegorical nature and rhythms of the play, trauma, and appreciates the quality of her dynamic duo.

The show is enhanced by the technical team’s contributions. The simple sandbank set is meticulously detailed by scenic designer Patrick Huber, atmospherically lit by lighting designer Tony Anselmo and featuring added depth through sound designer Kristi Gunther’s inobtrusive work, with sounds of the sea and sky. The women are dressed in casual wear designed by costumer Lou Bird.

Note: Some reflections may trigger emotional feelings or upsetting memories for audience members.

Photo by ProPhotoSTL

Loss is a tough fact of life, but grief is a personal journey that rips your heart out in different degrees. As one who experienced three major family deaths in five years, understanding that grief affects everyone differently, but it’s never something you “get over,” helps as you learn acceptance.

As the play alludes, everything shifts, you learn to live with trauma. What is necessary is talking about grief, because our society tends to shy away from talking about letting go and the powerlies in talking about it to heal.

This play may spark conversation, and isn’t that a wonderful opportunity? Going through something that others experience too means we’re not alone, and we can learn and grow when material resonates.

Poignant and meaningful, “Meet Me at Dawn” showcases two extraordinary actresses fearlessly not holding back in showing us their humanity in a thoughtful drama produced by Upstream Theater.

Upstream Theater presents “Meet Me at Dawn” April 11 – April 27, with performances take place at The Marcelle in Grand Center. For more information: www.upstreamtheater.org.

Photo by ProPhotoSTL

A Bittersweet Slice-of-Life, ‘Coconut Cake’ Offers an Irresistible Ensemble at the Black Rep

A Bittersweet Slice-of-Life, ‘Coconut Cake’ Offers an Irresistible Ensemble at the Black Rep

By Lynn Venhaus
Four retired guys sitting around talking and drinking coffee at a Chicago McDonald’s is intriguing food for thought –a delectable slice-of-life scenario that immediately draws us in to the play “Coconut Cake.”

Playwright Melda Beaty’s flair for dialogue, humor and seamlessly integrating social commentary in her dramedy is irresistible in a compelling and thoughtful presentation in The Black Rep’s intimate A.E. Hotchner Studio Theatre at Washington University.

Because of the caliber of its five-male cast, this character-driven work makes a swift and memorable connection. Their nimble delivery and interactions under the skilled direction of Geovonday Jones enhances their personal relationships as their struggles are revealed over the course of the two-act 2-hour show.

As they explore issues of manhood, racism, mental health and offer advice over games of chess, they show genuine affection — and aggravation — with each other but offer convincing immersive characterizations and realistic camaraderie. It’s set in the summer of 2010.

A fifth character, an unhoused man they call Gotdamnit, interrupts their mornings asking for money and offering his philosophical and spiritual words of wisdom. He’s considered a pest, but there is a surprising backstory and as suspected, more to the guy than his appearance indicates. Lawrence Evans is riveting as a marginalized man.

While the women in their lives are discussed, not seen, vivid portraits of the female characters emerge as they factor into the men’s disparate demeanors. Two characters in particular – a classy, attractive woman that has caught their eye, whom they watch as she walks to work from the Mickey D’s window, and property owner Joe’s mysterious new tenant, Ms. Brulee, who is a baker that makes a divine coconut cake, which happens to be Eddie’s nostalgic childhood favorite.

Richard E. Waits and Joe Hanrahan listen to Duane Foster. Photo by Keshon Campbell

Eddie Lee, a handyman, is the most agitated guy – upset about his wife’s escalating threatening behavior and discloses personal details about his troubled marriage. Everyone knows he has not been faithful, and that complicates matters. Duane Foster is strong as a guy whose life is falling apart but he’s not taking responsibility for the reasons why.

Marty is often the voice of reason, and his faith has kept him grounded. He’s a deacon in his church and devoted to his family, friends and congregation. As Marty, Richard E. Waits is firm, but measured, in the advice he gives, and it’s not always welcome.

The characters show different sides of them as husbands, fathers, sons and friends. Their individual stories mesh well, and the play offers unexpected twists and turns that add poignancy.

Each man has a significant emotional journey, and their textured portrayals give us richer story arcs as they bring up cherished memories and confide secrets.

Marty has brought along his brother-in-law Hank, a white guy who was married to his sister, who died a year ago. As played warmly by Joe Hanrahan, the widowed Hank is lonely and comes along for companionship and something to do. He’s learning chess, and he beams talking about his family, as his daughters and granddaughters try to keep him busy.

The outspoken Joe likes to needle Hank, calling him “Republican,” and increases his pot shots and cruel jabs. Richard Harris is a feisty live wire as the loud, swaggering Joe, a flashy blowhard who brags about his money and conquests. He’s never married but has a couple baby mamas.

Richard Harris is the outspoken Joe. Photo by Keshon Campbell.

As the very opinionated Joe, Harris can change his mood quickly. His accusations get heated and personal, especially if the other guys give him some lip about his boasts. His colorful wardrobe, often referred to as ‘fly’ in urban slang, is an indicator of his perceived status (kudos to costume designer Brandin Vaughn for the stylin’ attire).

Because Joe’s disposition can turn on a dime, his pointed barbs take on a hostile, accusatory tone in the second act, after he endures some setbacks.

All accomplished actors, the five bring nuance and shades of gray to our assumptions and give us deeper insight into these complicated men. They eventually must grapple with the consequences of their choices during their lifetimes.

Scenic designer Tammy Honesty has presented elements of a typical nook at a 2010-era McDonald’s, well-lit by designer Tony Anselmo, that allows Jones to move the action to wherever the guys are sitting.

When Joe struts in, he commands attention by seemingly holding court. Eddie is too restless to sit down most of the time, and Marty and Hank are often hunched over their chess board.

Lawrence Evans as Gotdamnit and Joe Hanrahan as Hank. Photo by Keshon Campbell.

Sound designer Alan Phillips incorporated people chattering at times and assembled an appealing soundtrack of catchy pop hits. Christian Kitchens was an assured technical director, and Mikhail Lynn provided the minimal props.

This isn’t the first time The Black Rep has presented the play, because during the pandemic in September 2020, they made a virtual Zoom reading available from The Ensemble Theatre in Houston, which featured founder Ron Himes as a major character, Eddie Lee.

In 2022, Beaty received the second annual Sylvia Sprinkle-Hamlin Rolling Premiere Award by the International Black Theatre Festival. Because of that, this play is being produced by five theaters, including the Black Rep. It is a welcome return.

With its engaging cast, a captivating funny-sad bittersweet narrative, and noteworthy technical know-how, “Coconut Cake” is a satisfying production to savor.

(At intermission, a coconut cream cheese pound cake is available for purchase too, along with other snacks. Just sayin’, if you get a hankering for a sweet treat.)

Richard Waits and Joe Hanrahan are brothers-in-law playing chess. Photo by Keshon Campbell.

The Black Rep presents “Coconut Cake” Feb. 5 – March 2 in the AE Hotchner Studio Theatre at Washington University. For tickets and more information, visit www.theblackrep.org

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

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

By Lynn Venhaus

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

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

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

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

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

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

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

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

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

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

Photo by John Lamb

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

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

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

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

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

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

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

Fly North’s Original Musical ‘Big Machine’ Displays Captivating Music, Crowded Narrative

Fly North’s Original Musical ‘Big Machine’ Displays Captivating Music, Crowded Narrative

By Lynn Venhaus

‘Sticking it to the man’ is a familiar theme in narrative and nonfiction works, but the Fly North Theatricals’ original musical “Big Machine” is not ordinary in any way.

With its multiple moving parts, this is a dense historical story based on true events in the 1920s, and by their own findings, largely forgotten.

This tale of two “Ethyls” – Ethyl alcohol fuel and Ethyl leaded gasoline, which were touted as anti-knock fuels in the 1920s, may need a tutorial about its rise and fall, and the harm inflicted. (By all means, Google it.)

Part “Mad Men,” part revisit of the first ‘Red Scare’ of communism (not to be confused with the later hysteria fanned in the 1940s and 1950s), and overall, a shocking news-making corporate scandal of putting profits above the public’s safety.

This controversy requires utmost attention, and while trying to connect the dots, it is easy to be distracted by workplace issues that don’t seem to be a necessary component.

Fly North has been working on this project for a long time, first commissioned by COCA in 2022. With revisions over the past two years, and a staged reading this April, the company finally mounted this ambitious, mature work that is clearly a labor of love. The effort is there, but the outcome can’t surmount the overstuffed narrative issues.

Al Bastin with the Ethylettes. Photo by Ian Gilbert.

It is the star headline event in the St. Louis Fringe Festival, with performances Aug. 2-18.

Colin Healy wrote the music and lyrics, which display an intricate and intelligent knowledge of music storytelling. A devotee of Stephen Sondheim, his flair for rhyming is admirable, and his orchestrations give the score a rich, layered sound.

He has directed an impressive band: Fiona Brickey and Mo Carr on violins, Christopher Bachmann on cello (Aug. 2-4) and Marie Brown on cello (Aug. 8-18), Josh Baumgartner and Joseph Hendricks on reeds, Jacob Mreen on bass, Joe Pastor on percussion and Healy on keyboard and guitar besides conducting.

His colleague and business partner Bradley Rohlf deftly directed the deeply committed cast, which has devoted much time to this production, and it’s staged on a broad canvas.

Healy, who has written three other original musicals, including “Gringo,” “Madam,” and “Forgottonia,” founded his company in 2019, and has worked both as a musician and educator. He and Rohlf are fearless in tackling challenges and inspire a creative collaboration with new and veteran artists.

In this show, the loyalty to what Fly North is attempting is tangible, and the performers exude concern for the material they are presenting. Yet, Healy’s libretto has confusing multiple storylines that complicate the subplots, especially if viewers are unfamiliar with the historical content.

The action mostly takes place at an oil refinery in Bay of Fortune, Indiana, a division of the General Motors Chemical Company. Caleb Long’s efficient set design includes multiple parts that double as the workplace, backroom shelves, and the Olsen home.

Commanding attention is Al Bastin as an animated villain, aka “The Man Who Harmed the World the Most,” and their talents are considerable. They play Thomas Midgely Jr., who was vice president of General Motors Chemical Company and a chemical engineer who introduced a new “miracle product” that they hoped would boost declining auto sales.

A powerful vocalist, they seize control of this ethically challenged executive in an opening number, “It Works,” giving off a carnival barker vibe. Their expert salesmanship is on display in a very funny production number, “The Miracle of Corn,” in the second act, and his desperate attempt to prove the naysayers wrong in “Another Miracle.”

Photo by Ian Gilbert.

Midgely winds up a sad, pathetic figure by the time his number “Alone” closes the show. Bastin has poured their heart and soul into this role, a star-making turn.

It is unusual for a pegged ‘bad boy’ to be the lead, but not unheard of – think “Sweet Smell of Success,” “Jekyll & Hyde,” the psychotic boyfriend in “Heathers the Musical,” and even the obsessed “The Phantom of the Opera.”

But the odious character isn’t balanced by other decent characters that resonate. A widowed father, Ernest (Parker Miller), is flawed – bad employee, bad dad, alcoholic and unstable. It’s difficult to connect to him and the neglect of his sweet genius daughter, Grace (Maliah Strawbridge), is reason enough not to care.

Father and daughter sing “Can You Imagine” as an introduction to their characters. Grace, a child prodigy, has fiddled with an engine – but even that is hard to figure out.

They seem to be making excuses in his musical numbers, such as “I Never Imagined…” and “Alone, Together.” Miller’s singing voice is much stronger than his acting, for it’s hard to generate sympathy for the character because of all his bad decisions.

A romance with “Ethyl” is murky, and Mack Holtman, coyly playing this mysterious character, is clothed in black (Angel of Death?).

Parker Miller as Ernest Olsen. Photo by Ian Gilbert.

The timeline is wobbly, but here goes: Workers at the oil factory are shown as disgruntled laborers trying to get by, with Rosie (Lili Sheley) and Gilda (Corinna Redford, a spunky standout) the disrupters. They sing “The Communist Manifesto.”

A corporate ‘yes’ middleman, Methuselah (Christopher Plotts) is assured he’ll get a promotion if he rats out Communists in the work force. After the Russian Revolution of 1917, fear of anarchy and leftist radicals spread, and labor strikes were on the rise. This was framed as immigrants trying to bring down the American way of life, so corporations tried to identify workers who criticized the government.

Plotts, another character whose ‘woe is me’ attitude is ineffective, displays a soulful voice in the number “Pity the Middleman’ that further prolongs the inevitable corporate crash.

Disgruntled workers, plus labor unrest, plus corporate greed are the bulk of the action – and Ernest wasting time not working. We go back five years to a couple GM board room scenes. And a strange number “Crazy (A Brief History)” involves a bizarre Greek-chorus of a centurion (Marcus Agrippa), Queen Elizabeth I, her courtiers and reporters that add another layer of tedium.

The ensemble plays various characters – refinery workers, GM board members, dancing corn, and chorus girls: Michael Reitano, Langston Casey, Carly Fock, Dereis Lambert, Jordan Woods, Chelsie Johnston and Emma Giltner. Fight choreographer Morgan Clark handles a workers’ brawl.

Act 1 culminates in an energetic dance number, “Big Machine,” which is skillfully choreographed by Jordan Woods.

Christopher Plotts as Methuselah. Photo by Ian Gilbert.

If the first act raises many questions, the second act has too many loose ends to adequately tie everything together. In resolving how Midgely’s ambitions crashed, a parallel story is how a workplace accident involving Ernest’s daughter settles to his advantage. While we root for Midgely’s comeuppance, Ernest’s resolution is not earned.

Eileen Engel’s costume design fits the period and the characters, Kel Rohlf’s prop design includes a bathtub, and Tony Anselmo’s lighting design effectively sets the atmosphere.

Phillip Evans’ sound design is blaring, with characters trying to be louder than the performers they are interacting with, or next to on stage. This may be overcompensation because of recent issues Tesseract Theatre Company had at the Marcelle last month.

While the music score has promise, the story is unsatisfying and far too complicated to invest in, despite performers trying very hard to sell it.

Fly North Theatricals presents “Big Machine” in two acts with one 15-minute intermission, and the run time is 2 hours and 15 minutes. Performances are at 7:30 p.m. Aug. 9-11 and Aug. 13-17, with 2 p.m. matinees on Aug. 17-18, at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, in the Grand Center. For more information or tickets, visit www.flynorthmusic.com

The ensemble. Photo by Ian Gilbert.

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

Tesseract Theatre Triumphs With a Momentous Part 1 of ‘The Inheritance’

By Lynn Venhaus

Epic in scope and intimate in execution, Tesseract Theatre Company’s “The Inheritance” Part I is a monumental achievement that leaves one exhilarated and eagerly anticipating Part 2.

A rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love is written vividly and perceptively by Matthew Lopez.

This Tony and Olivier-Award winning play is surprising in its wit and depth of feeling as we’re hit with this tsunami of talent meeting moment after moment.

This magnum opus on what it’s like to be gay in America is boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble that radiates charm and conviviality.

It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.

 What does it mean for the future? Intertwining a sprawling cast of 13, Lopez examines healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”

Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.

Alex C Moore plays Morgan and Walter. Photo by FF.

Moments of grace and laughter abound as the knotty entanglements of life unfold. Lopez tackles the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastical way. It is specific to the LGBTQIA+ experience, but allies will be able to relate.

Where to begin with this marathon of a show that defies conventions and embraces universal truths?

Employing an uncommon structure, Lopez nimbly name drops in a dishy soap-opera way, using familiar – and amusing — pop culture references, while being profound about generational experiences with textured, novelist flourishes.

The production’s 7-hour runtime may be daunting, but do not be intimidated by its two parts. Yes, it is a commitment, but the rewards are vast, especially when everyone involved has given their all, and it shows.

Part 1, which is from Summer 2015 to Spring 2017, is 3 hours and 10 minutes. The first act is 75 minutes, followed by a 15-minute intermission, then the second act is 55 minutes, followed by a 10-minute intermission, and final piece of Part 1 is 52 minutes.

Part 2, which is set from Spring 2017 to Summer 2018, is 3 hours and 15 minutes with one intermission and a brief pause. I look forward to returning to find out what’s happening with these people.

Keeping the momentum was obviously Peirick’s goal, and it is riveting from start to finish, never sagging.

However, the way the multi-layered show is structured is an investment, as it has many moving parts and themes that intersect. Sure, it’s imperfect, but hello…

It takes a broad canvas and narrows it down, starting in a classroom, where out-and proud gay men in their 30s are instructed by E.M. Forster, known as “Morgan,” to shape their own stories.

Gabriel Paul as Toby and Chris Kernan as Eric. Photo by FF.

Yes, the legendary author Edward Morgan Forster, who lived from 1879 to 1970, and besides “Howards End,” wrote the novels “A Room with a View” and “A Passage to India,” all later adapted into Merchant and Ivory films.

This is a conceit that is a master stroke, and not far-fetched. While the contemporary characters here chastise Morgan for hiding his sexuality publicly as a gay man – homosexual acts in private weren’t decriminalized until he was 83 – he is a guiding light.

According to biographical data, in 1963, Forster wrote: “How annoyed I am with society for wasting my time by making homosexuality criminal. The subterfuges…that might have been avoided.”

While that is not forgotten, he never gave up on love and believed all his life that “the true history of the human race is the history of human affection.”

So, it’s no wonder that this play is based on his 343-page “Howards End,” demonstrating empathy and understanding, and especially with the full-circle motto: “Only connect.”

In “The Inheritance,” Morgan’s advice comes from a place of love and wisdom. In a preternatural performance, Alex C. Moore navigates the role like a captain on a ship, respected and in command. He’s an imposing, mesmerizing figure in dual roles.

“One may as well begin with Toby’s voice mails to his boyfriend,” he says with confidence, and the students appear to begin making up the work as they go along.

Toby at the disco. Photo by FF.

The interconnectedness of the characters is engrossing. Political activist Eric Glass is cultured and likes bringing people together. He’s mindful of making a difference in the world and his heritage. Chris Kernan plays him as committed but easygoing.

His boyfriend, aspiring playwright Toby Darling, is reckless and hedonistic, drawn to the limelight and lives in the moment. Gabriel Paul’s performance bristles with electricity — he’s a hot spring of emotion, giving off Icarus vibes.  

They are the main couple, but the secondary pair are two older, longtime companions –
Walter Poole and Henry Wilcox – wealthy gentlemen with social graces and an enviable lifestyle. Jon Hey as the capitalist billionaire Henry and Moore, as Walter, the caretaker/partner, ingratiate themselves as learned men of money and manners.

In another dual role, a captivating Tyson Cole is Adam, a flirtatious and adventurous rich kid who disrupts Eric and Toby’s lives.

For all of Toby’s faux bravado, there is an undercurrent of turbulence and mystery, particularly when Toby is drawn to a street hustler, Leo, also played by Cole. Paul’s intense Toby, as troubled as he is, driven by fame and his libido, is a remarkable achievement in complexity.

Cole superbly manages to play both his roles surreptitiously, distinguishing them in subtle ways. In his Prague monologue, he shows exceptional bravery.

Lopez has created a circle of friends that feels like a warm cocoon, in a way that Mart Crawley’s play “The Boys in the Band” couldn’t in 1968, or wasn’t, in its 2018 revival. They are a Greek chorus, not unlike Bobby’s married friends in the Sondheim musical “Company.”

It’s that dichotomy – outside in a not-so-kind world, and inside their sanctuary that is contrasted so sharply.

Through overlapping dialogue, the actors establish characters and their place in Eric and Toby’s orbit, while Kernan anchors this landscape. Eric has fostered a supportive environment, and now his life is topsy-turvy in both unexpected and anticipated ways.

He traverses the slab stage to center it as his family homestead, and then deals with all the aggravations of ‘being.’

Photo by FF.

A sweet friendship between Walter and Eric develops, and their conversations are lovely reminders of the people we meet on our journey, and how they influence our thoughts and deeds.

Howards End was the name of a country house in the novel, and a similar property is prominent in this play. It takes on different emotional and sentimental meanings, which is another interesting aspect, and best not be spoiled in a review. Its impact is earned in ending Part I.

Peirick’s scenic design expands on the blossoms of a significant cherry tree, and he has placed artwork based on several photos he took during his NYC travels on the walls, pointedly referencing the Bethesda Fountain at Central Park.

One of my favorite flavors of this show is that New York City is also a character, for it’s as much a love letter to the island as it is a contemplation on the big picture.

Lopez’s dialogue reminds one of NYC’s lure, of its magical quality as the center of the universe, its unparalleled cultural offerings, and its encapsulation of hopes and dreams.

“Every summer, waves of college graduates wash up on its shores to begin the struggle toward success and achievement,” one character says, and as the mother of two sons who did just that, it resonated.

Of course, people will compare this to the landmark “Angels in America: A Gay Fantasia on National Themes,” whose two parts “Millennium Approaches” and “Perestroika” opened on Broadway in 1993. After all, its themes are metaphorical and symbolic as it explored AIDS and homosexuality in the 1980s.

“The Normal Heart” by Larry Kramer is another touchstones – addressing the rise of the HIV/AIDS epidemic in New York City between 1981-1984.

These bellwethers inform and add emotional depth to this exercise, for advocacy isn’t confined to the past, a crucial message.

Tyson Cole is Adam and Leo. Photo by FF.

Warning to the audience: Because part of the show takes place in 2016 with social liberals re-enacting election night shock (and for some, horror), that could conjure up some “things.”

Depictions of relationships include frank dialogue and stylized moves for sexual encounters. Adam’s lengthy explicit monologue about a euphoric erotic experience in a gay bathhouse in Prague leads to a terrifying realization of the danger of unprotected sex, and immediate action with PrEP (pre-exposure prophylaxis, medicine taken to prevent HIV).

The supporting players are lively and animated, and transform into whatever they are tasked with, which adds to the show’s unique appeal. For instance, Kevin O’Brien shifts into two parts as one of Henry’s spoiled entitled sons and Eric’s fiery progressive activist boss Jasper.

Kelvin Urday and Nic Tayborn are funny as an anxious singular-focused couple expecting a baby through a surrogate. Jacob Schmidt and Sean Seifert are young Walter and Henry. Stephen Henley is the other spoiled entitled son of Henry. Donald Kidd is Tristan and Margery Handy is Margaret, and they both factor into Part 2.

While the subject matter is serious, levity is present, including a whole discussion on whether camp is necessary as an ostentatious example of gay-ness.

This massive undertaking has involved the outstanding skill sets of many local technicians – lighting designer Tony Anselmo, sound designer Jacob Baxley, technical director Kevin Sallwasser, assistant director Dani Mann, stage manager Rachel Downing, production manager Sarah Baucom and dialect coach Mark Kelley – and their accomplishments are noteworthy.

Part I is an extraordinary piece of theatre, enhanced by its fully alive cast and the creative team’s commitment to telling truths in this special way. “Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.

The Inheritance cast. Photo by FF.

This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Tesseract Theatre Company presents “The Inheritance, Parts I and 2” April 26 – May 5 at the Marcelle Theatre, 3310 Samuel Shepard Drive. Part 1 is presented Friday and Saturday, April 26 and 27, at 7:30 p.m., with a Sunday matinee at 2 p.m. April 28. Part 2 is presented Thursday and Friday, May 2 and 3, at 7:30 p.m., with a Sunday matinee at 2 p.m. on May 5. Both Parts 1 and 2 are presented on Saturday, May 4, with Part 1 at 2 p.m. and Part 2 at 7: 30 p.m.

For tickets, visit: https://www.metrotix.com/events/detail/the-tesseract-theatre-company-the-inheritance

Take Ten with Stephen Peirick

Take Ten with Stephen Peirick


By Lynn Venhaus

A longtime multi-hyphenate in St. Louis, actor, director and playwright Stephen Peirick’s latest challenge is a very personal and special experience for him, what he describes as a “dream opportunity.”

As director of the regional theater premiere of the Tony-winning “The Inheritance,” he said it’s not only an honor and privilege to be a part of the work, but described the production as an “embarrassment of riches” because of his “hands-down brilliant” cast.

Tesseract Theatre Company will present “The Inheritance, Parts 1 and 2” by Matthew Lopez April 26 to May 5 at the Marcelle Theatre in Grand Center. There is one day, May 4, where both parts will be presented. For more information, visit www.tesseracttheatre.com and tickets are available at MetroTix.

Peirick is working with Tesseract for the first time. Taylor Gruenloh, former founder and artistic director, said he first thought of Stephen while reading the play, and locked him in to make it happen.

“As soon as I read that play, it reminded me of all the work Stephen was doing in town. And knowing how passionate he is about this kind of subject matter made it important to know he was at the helm before the rights were secured,” Gruenloh said.

The Daily Telegraph said it was “perhaps the most important American play of this century.” The play is based on “Howard’s End” by E.M. Forster and takes place in New York City decades after the AIDS epidemic, as three generations of gay men attempt to forge a future for themselves amid turbulent and changing America.

“This play doesn’t deny the pain of our experience.. it allows people to remember how we have gotten this far, what it’s like to fight, and who we have lost along the way. That sometimes our best weapon is our sense of humor, is our wit, is our intelligence, and is the love we have for each other,” said playwright Matthew Lopez.

Gabriel Paul and Chris Kernan. Photo by Tesseract Theatre Company.

Eric Glass (Chris Kernan) is a political activist engaged to his writer boyfriend, Toby Darling (Gabriel Paul). When two strangers enter their lives — an older man and a younger one — their futures suddenly become uncertain as they begin to chart divergent paths. This is an epic examination of survival, healing, class divide, and what it means to call a place home.

Besides Kernan and Paul, “The Inheritance” cast includes Tyson Cole, Stephen Henley, Jon Hey, Donald Kidd, Alex Moore, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, Kelvin Urday, and Margery Handy. Assistant Director is Dani Mann.

Among its accolades, “The Inheritance” won the 2020 Tony Award for Best Play., the 2020 Drama Desk Award for Best Play and the 2019 Olivier Award for Best Play.

​This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.

Peirick has been working with Stray Dog Theatre for years, and has performed and directed at West End Players Guild and performed with Union Avenue Opera in “Lost in the Stars.” He also works with Take Two Productions, a community theatre.

He is known for writing original plays as well, and has received nominations for Best New Play from the St. Louis Theater Circle for “Wake Up, Cameron Dobbs” and “Four Sugars.”

Last year, the Circle nominated him for his performance as Ned Weeks in “The Normal Heart” and several years ago for “The Doll’s House.”

He has also been nominated for the local community theatre Arts for Life awards for directing, lighting design, choreography and scenic design — winning the latter for Fun Home with Take Two Productions.

Next up is directing “Merrily We Roll Along” for Take Two Productions, which will be presented in September and October.

Stephen as Ned Weeks in “The Normal Heart,” with Joey Saunders, at Stray Dog Theatre in 2022. Photo by John Lamb.

Take Ten Questionnaire with Stephen Peirick

1. What is special about your latest project?

Larry Kramer masterfully wrote the brilliant play The Normal Heart, which detailed his experiences fighting for the gay community during the AIDS crisis in the 1980s. When I first saw Kramer’s play in 2011, it amplified a history I had been almost entirely ignorant of. It was a humbling moment as a gay man: an embarrassing privilege of my age. Kramer’s play inspired me to want to share this history with the world, and in particularly with the next generation of queer youth.

Our history is important. We are important. Matthew Lopez’s first-rate epic The Inheritance goes one step further, by asking audiences to ponder not only what we owe the generation who came before us, but what will we leave behind for the generation to come?

It’s not often that you get asked about your interest in directing a two-part epic – this has been a dream opportunity. It has been my incredible honor and privilege to direct the St. Louis premiere of this Tony-Award winning play.

And then, on top of it, to get to work with a hands-down brilliant local cast (Tyson Cole, Nic Tayborn, Sean Seifert, Jacob Schmidt, Stephen Henley, Donald Kidd, Kevin O’Brien, Kelvin Urday, Chris Kernan, Gabriel Paul, Alex C. Moore, Jon Hey, and Margery Handy) and an exceptional behind the scenes team (Dani Mann, Rachel Downing, Amanda Brasher, Abby Pastorello, Tony Anselmo, Jacob Baxley, Sarah Baucom, Kent Coffel, Kevin Sallwasser, as well as Tesseract’s Creative Directors Brittanie Gunn and Kevin Corpuz): this show has been an embarrassment of riches for a director. A special experience, for sure.

2. Why did you choose your profession/pursue the arts?

Because I can’t NOT pursue it. (I would be so much more well-rested if I just stay away!) At the end of the day, I’m a storyteller trying to get better at this craft. Whether I’m directing, acting, or writing…I have a passion for creating, and no matter how tired I get, I keep going back for more.

As George in “Who’s Afraid of Virginia Woolf?” at Stray Dog Theatre in 2023, with Stephen Henley and Claire Wenzel. John Lamb Photo.

3. How would your friends describe you?

First and foremost, I think they’d say I was hot. And also, probably…hilarious. Okay; maybe they wouldn’t say either of those things unprovoked…or at all. But in my mind, those are the two compliments they are always ABOUT to share with me…before they get distracted by something else and forget .

4. How do you like to spend your spare time?

What is that? Spare time? Alas…should I ever find it again, I’d love to get back to writing.

5. What is your current obsession?

The Inheritance. I literally have no time for anything else. But once the show has come and gone, I love to spend summers outside…I love lounging in a pool, and enjoying R & R time. I love to find and read new plays, and I’m always on the lookout for some good Halloween décor. I track what’s playing in NYC, both on Broadway and Off…and I love reality television, or binding scripted shows.

6. What would people be surprised to find out about you?

If I told you, it wouldn’t be a surprise.

7. Can you share one of your most defining moments in life?

Seeing my sister’s high school production of The Diary of Anne Frank when I was six or seven. It ignited in me my love for live theatre. When I look back on my life, I think it was the very beginning moment of this whole journey.

8. Who do you admire most?

My mom was, no doubt, the most influential person on me. She passed away nearly 10 years ago, and I miss her everyday, and I can’t help but wonder what she would think of the work I’ve done over these years.

Lavonne Byers, Stephen Peirick and Laurell Stevenson in “Good People” at Stray Dog Theatre in 2022. Photo by John Lamb.

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

I was just getting ready to return to the stage as an actor (after having taken a year off) when the pandemic hit. Like for everyone else, it caused so much disruption to projects I had in the pipeline. Most of them still got to happen, although after a long delay, including directing Fun Home with Take Two Productions, and playing Mike in Good People and Ned in The Normal Heart for Stay Dog Theatre.

The Normal Heart was my dream project, and had been since 2011, so the fear that it would never get to happen, and that the arts might never recover was real.

I think it’s important to go see and support live theatre as one’s schedule (and wallet) allows. Volunteer to usher, and post to the socials when you go see work. Help your friends and family see that it is safe to return to the theatre, and that good things are happening. (And masks are still welcome in any theatre you might want that added layer of protection.)


10. What is your favorite thing to do in St. Louis? (Or your hometown)

I love to be immersed in our local arts scene as much as possible. This month alone, I saw productions with Stray Dog Theatre, The Rep, Clayton Community Theatre, and St. Louis Shakespeare. I love hitting up restaurants (The Tavern is a favorite for special occasions), and spending time with friends and family.

12. What’s next?

Next up, I am directing the musical Merrily We Roll Along for Take Two Players. This dynamic and rarely produced musical is currently having an incredible run on Broadway. Running for two weekends in September and October, our cast features an incredible group of local talent, including Ryan Farmer, Grace Langford, and Michael Baird in the central roles of Frank, Mary and Charlie. www.taketwoproductions.org

Stephen Peirick and husband Jon Hey. Photo by Lynn Venhaus

More Information on Stephen Peirick
Birthplace: Franklin County, MO
Current location: St. Louis
Family: I am married to the incredible Jon Hey, and we have three cats: Kona, Poppy and George. I have four older sisters, three nephews, two nieces, two great nephews and two great nieces.
Education: BA in Communications/Theatre with a minor in Education
Day job: I have spent the last 15+ years working for a state association. I create our online newsletters, content for our socials, etc., and appreciate working for an organization that understands and supports my passion for the arts.
First job: I was a Ticket Taker at Six Flags when I was 15 years old.
First play or movie you were involved in or made: The first real, non-grade school Christmas play I did was a courtroom drama called The Night of January 16 when I was a freshman in high school.
Favorite jobs/roles/plays or work in your medium? Playing Ned Weeks in The Normal Heart at Stray Dog Theatre was such a dream; and seeing the premiere of my first, full-length play (in 2012 at West End Players Guild) Wake Up, Cameron Dobbs is something that I will never forget.
Dream job/opportunity: Taking Wake Up, Cameron Dobbs to New York maybe?
Awards/Honors/Achievements: I have been nominated for four St. Louis Theatre Circle Awards; two for acting (The Normal Heart and A Doll’s House) and two for writing (Wake Up, Cameron Dobbs and Four Sugars). I have also been nominated for our local, community theatre Arts for Life awards for directing, lighting design, choreography and scenic design (winning the latter for Fun Home with Take Two Productions).
Favorite quote/words to live by: Tell your story bravely. It’s a story worth telling.” – Morgan, The Inheritance
A song that makes you happy: I love 80s music. Here I Go Again by Whitesnake is a fave.

Stephen Peirick and Nicole Angeli in Stray Dog’s “Hedda Gabler” in 2017. Photo by John Lamb.
“Art” outdoors at Stray Dog, with Ben Ritchie and Jeremy Goldmeier in 2021. Photo by John Lamb

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