New Jewish Theatre and Review an Act of God

Archive for December, 2018

The Nearly Fabulous Story Always Told
by Paul Rudnick
Directed by Justin Been
Stray Dog Theatre
December vii, 2018

Stray Dog Theatre is presenting a bear witness for the holiday season that somewhat lives up to expectations, and also defies them. The Most Fabulous Story Ever Told is, at the outset, an iconoclastic comedy. In addition to some over-the-top humor, though, there's also some challenging, intense drama here. With a dandy bandage and fantabulous production values, this is a show to brand audiences express mirth, cry, and think.

In a way, this show tells two stories, or at least information technology's one story told in two ways. Generally a comedy just with some peculiarly intense dramatic moments, this is a testify that looks at religion–particularly Christianity and Judaism–and well-known biblical tales, from a dissimilar viewpoint, with particular emphasis on gay and lesbian perspectives. In some ways, its bulletin brings to listen some other show that recently opened in St. Louis–David Javerbaum'due south An Act of God, which is currently in its final weekend at New Jewish Theatre. That play also mentioned a creation story involving "Adam and Steve" and its ultimate message isn't dissimilar to the one here, but The Most Fabulous Story Always Told is more graphic symbol-driven and more than focused on a detail theme. Hither, we have a outset act that'southward more of a fantastical twist on familiar biblical stories, telling the story of the get-go humans, gay couple Adam (Luke Steingruby) and Steve (William Humphrey), and lesbian couple Jane (Maria Bartolotta) and Mabel (Angela Bubash). This half of the story is more than broadly comic and satirical, every bit the characters live through a version of the biblical stories that takes them from creation to the overflowing to Pharaoh'south court, to somewhen their own version of the Birth story, occasionally interrupted by commentary from a variety of characters in the audition. It's funny, information technology's irreverent, and it's a pointed twist on the established stories, with a focus on gay characters and themes. The second act is more current and realistic, set up in late 1990s New York. Here, the enthusiastic Adam is hosting a Christmas party, even though he is Jewish. His partner, Steve, is more skeptical just goes along with the political party for Adam's sake. Here, we come across their friends and party guests, including Jane and Mabel, and Adam'south somewhat naive coworker Cheryl (Dawn Schmid), who has just moved to New York from Utah. In this half, the story becomes more than firsthand and poignant, as the group of friends deal with personal struggles, milestones, and crises, all while wrestling with the idea of the meaning of life and the existence of God.

This is something of a hard play to draw, because a lot happens here. From the more stylized starting time act to the more realistic second act, with a shift from broad, confrontational and ofttimes extremely bawdy comedy to some poignant and intense and especially challenging dramatic moments, forth with a message that volition land unlike means depending on the viewers' beliefs about God (very much like An Act of God , as well), there's a lot to retrieve about here. It's an peculiarly timely and poignant reminder of the importance of belonging and chosen family. The shifts in tone are well handled through Justin Been's thoughtful direction and through the excellent casting, and though, equally befits the name of the show, the truly fabulous production values, from the whimsically detailed and versatile set past designers Justin Been and Josh Smith, to the colorful costumes past Jules King, to the especially striking lighting by Tyler Duenow.

There'due south a great cast here, led by Steingruby'south winning operation as the inquisitive, ever-optimistic Adam and Humphrey as the more practical, melancholy Steve. They make a convincing pair, equally practice Bartolotta as the tough-talking Jane and Bubash as the hopeful Mabel. These four are supported by a strong ensemble playing a variety of roles, from animals to royalty to clergy to New York houseguests. Standouts include Schmid as the eager-to-fit-in Cheryl, Jennelle Gilreath as tradition-challenging Rabbi, and Stephen Henley and Jeremy Goldmeier as friends of Adam and Steve at the Christmas political party. The overall ensemble energy and chemistry is a major strength for this show, specially considering its broad scope and occasional shifts in tone.

This is not an all-ages testify, as it contains moments of nudity and some peculiarly bawdy sense of humour, in addition to some frank discussions of sexuality. Information technology's also particularly challenging and thought-provoking in terms of the discipline of faith. It's a sometimes whimsical, sometimes poignant tale that runs the gamut from holiday cheer to some serious moments of sadness. Overall, though, it's a thoughtful, well-cast show that highlights some excellent local performers.

Cast of The Most Fabulous Story Ever Told Photograph by John Lamb Stray Domestic dog Theatre

Devious Domestic dog Theatre is presenting The Most Fabulous Story Ever Told at the Belfry Grove Abbey until December 22, 2018.

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Perfect Organisation
past Topher Payne
Directed past Sarah Lynne Holt
R-Due south Theatrics
Dec 6, 2018

Zak Farmer, Marking Kelley, Colleen Backer, Deborah Dennert
Photo past Michael Young
R-S Theatrics

I always try to be careful with how much I reveal about the plots of the plays I review. A fiddling scrap of spoiling is sometimes inevitable, but for the well-nigh part, I try to write so that the important surprises will be kept for the viewers to encounter for themselves. In a play similar R-Southward Theatrics' latest production, Perfect Arrangement,  managing spoilers is a picayune more difficult since the play starts out with a surprise. It's as well a play that keeps surprising as the story goes forth, by way of playwright Topher Payne'southward cleverly constructed script. One matter that isn't much of a surprise, though, is the strength of the cast, since R-S Theatrics is fairly consequent in finding simply the right performers for their roles.

This is a play about appearances, and secrets, and the cruelty of punishing people for who they are and forcing them into playing roles that don't fit them.While I volition try to keep this review equally spoiler-complimentary as possible, I volition have to mention the initial surprise because it'due south basically impossible to review this play without doing then. Then, if you are someone who wants to be completely surprised nigh everything that happens in a bear witness, this is your warning to cease reading now.  The kickoff scene features a 1950's dinner party featuring three couples–Bob and Millie Martindale (Marker Kelley and Colleen Backer), Jim and Norma Baxter (Tyson Cole and Sarah Gene Dowling), and Theodore and Kitty Sunderson (Zak Farmer and Deborah Dennert). This scene comes across as something of a send-upwards of the "typical" 1950s domestic setup–cocktails, cheery smiles, and doting wives admiring their husbands. In fact, some of the dialogue, particularly from the women, is reminiscent of quondam-style radio bear witness commercials, in which the characters intermission from the action to hawk the latest brand of detergent or some other product. The setting is Washington, DC, and Ted, Bob, and Norma all work for the State Section, helping to root out "undesirables" in their midst, such every bit communist sympathizers, but at present, dominate Ted has ordered his subordinates Bob and Norma to aid in expanding the scope of the purge beyond politics to sex, including exposing and firing employees accounted to have undesirable lifestyles, including homosexuality and promiscuity. Bob and Norma initially seem to continue, simply after the Sundersons go out, we find out at that place's a trouble. The "perfect" piffling suburban setup for the Martindales the Baxters is all an human activity. The real couples are Millie and Norma and Bob and Jim, and they are able to maintain their appearance of being two "typical" 50s heterosexual couples by means of adjoining houses with a hush-hush door between them. This organisation has worked until now, but afterward Ted'southward new lodge, things brainstorm to unravel, all while the couples desperately try to maintain the fiction while doubts begin to surface, particularly for Millie, who struggles to keep up the deed for the increasingly clingy and socially connected Kitty. There's also the problem of Bob's and Norma's co-worker Barbara (Erin Struckhoff), who has been targeted for her promiscuous reputation but who isn't nigh to proceed repose, and who brings even more than surprises into the story. It's a circuitous plot merely expertly structured, with an evolving tone that starts out looking like information technology's going to be a comedy but shortly morphs into more than of an intense, riveting drama. The structure cleverly reflects the theme, as well, since appearances tin can be deceiving.

The acting here is peculiarly challenging since several of the characters have to play two versions of themselves–the happy, cheerful "perfect" versions and their real selves behind the masks. Everyone is fantabulous, especially Backer with her shifting between the perky "spokesmodel" type 50s housewife to the more conflicted "unmasked" Millie, and being genuinely torn between wanting to be accepted by society and wanting to express her true self. Dowling, as the initially more forceful Norma, is besides excellent as someone for whom the fiction has go much more than of a burden than a blessing. In that location are also strong performances from Cole, every bit the initially happy-go-lucky Jim, and Kelley equally the more rigid, conforming Bob, who is trying to convince anybody that nada has to modify. Struckhoff, as the confrontational Barbara, likewise shines, as does Dennert as the initially flighty Kitty, who eventually reveals more depth to her grapheme than is starting time evident. Farmer too makes a memorable impression every bit the character who changes the least–the inflexible, reactionary Ted. Information technology's an especially impressive ensemble that supports the challenging, sometimes broadly satirical and sometimes intensely dramatic script peculiarly well.

The expect and temper of this evidence is especially important considering its specific theme, and the 1950s way has been well realized in technical director J. Keller Ryan's breathtaking design. Sarah Porter'due south costumes and wigs likewise aid to attain the 1950'southward "typical suburban" expect and feel. There's also strong lighting design from Nathan Schroeder and sound by Mark Kelley, all working together in the intimate setting of the Marcelle Theatre to bring the audience into the advisedly manufactured world of these characters.

Perfect Arrangement is an expertly crafted play, bringing some laughs initially but especially intense, poignant emotion every bit the story plays out. It's an examination of a bygone era, but also a warning for today, as history doesn't e'er modify as chop-chop as we think it does. This is some other excellent, incisive product from R-Due south Theatrics.

Colleen Backer, Deborah Dennert, Sarah Gene Dowling
Photo by Michael Young
R-S Theatrics

R-S Theatrics is presenting Perfect Arrangement at the Marcelle Theatre until December 23, 2018.

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Tribes
by Nina Raine
Directed by Annamaria Pileggi
St. Louis Actors' Studio
Dec two, 2018

Miles Barbee, Bridgette Bassa
Photo by Patrick Huber
St. Louis Actors' Studio

St. Louis Actors' Studio's twelfth season has been titled "Blood is Thicker Than Water". I'm assuming that by that championship, the plays will exist examining the concept of family unit in ane style or another. Their latest production, British playwright Nina Raine's Tribes , looks at the concept of family from diverse dissimilar angles–from literal family unit to "chosen family" and what those concepts hateful to a people who tin can become caught between ii or more distinct groups. It's an incisive, fascinating script filled with well-drawn characters, and STLAS has brough them to life in this intense, thoughtful and profound production.

The story, prepare in England, introduces usa to a close but occasionally volatile family unit unit. The parents, professor Christopher (Greg Johnston) and aspiring novelist Beth (Elizabeth Ann Townsend) alive with their 3 developed children–aspiring opera singer Ruth (Hailey Medrano), insecure bookish Daniel (Ryan Lawson-Maeske), and Billy (Miles Barbee), who as the simply deaf member of the family, has grown up in his hearing family unit's world, learning to read lips and, at Christopher'south insistence, never learning sign language. The family is often loud and opinionated, with Billy frequently having to ask them to explain what they're talking well-nigh. Eventually, Billy meets Sylvia (Bridgette Bassa) at a party.. Having grown upwardly equally a hearing child of deaf parents, Sylvia is fluent in sign language, and she is able to introduce Billy to the deaf community as she reveals that she herself is gradually going deaf. As the relationship between Billy and Sylvia grows, Syliva is introduced to Billy'due south family unit and Baton begins to discover a new world of possibilities effectually him just as Sylvia is growing increasingly dislocated virtually what the world will exist like for her, every bit Billy's parents struggle with their son'southward increasing independence, and every bit his siblings deal with a combination of jealousy and dependence. The dynamics are complicated to describe, although they are extremely well played-out, with various implications brought upwards as natural outgrowths of the characters, their relationships, and where the story takes them. It's a fascinating play, intricately scripted, with moments of humor and poignant drama composite into an increasingly intense, riveting theatrical experience.

The family dynamic here is extremely well portrayed by an excellent cast. Barbee, who like his graphic symbol is deaf, plays Baton with strength, sensitivity, and eagerness as Billy discovers more than about the world around him, explores the possibilities, and challenges his family's restrictions and perceptions of him. His chemistry with the as excellent Bassa is strong, and Bassa is too especially constructive every bit a immature woman who is essentially a office of 2 worlds only questioning how she fits in to both of them. Lawson-Maeske, as the insecure, struggling Daniel, is also impressive, particularly in his scenes with Barbee, the blood brother he alternately resents and badly needs. There are also strong performances from Medrano as the competitive Ruth, Johnston equally the argumentative, highly opinionated and controlling Christopher, and Townsend equally the conflicted Beth, who seems to genuinely desire the best for her children just struggles to understand what that is. Information technology'south a highly emotional play, and thoroughly believable in its relationships and in its use of British Sign Language (BSL) on phase, with American Sign Language (ASL) interpreters and supertitles helping to translate.

The globe of these characters is brought to life believably in director Annamaria Pileggi's thoughtful staging and the technical aspects of the play. Patrick Huber's vividly realized fix, video design, and striking lighting make the well-nigh of the modest stage infinite at STLAS's Gaslight Theatre. In that location's also impressive work from costume designer Megan Harshaw, props designer Jess Stamper, sound designer Jeff Roberts, and dialect coach Pileggi. The accents aren't universally perfect, but they're proficient enough as to not be distracting from the action.

This is a stunning, highly thought-provoking play that covers so many issues in terms of identity, family, and belonging that it's nigh likewise much to draw. The best affair to do is to encounter information technology for yourself, which I highly recommend. Tribes  is another impressive production from St. Louis Actors' Studio.

Cast of Tribes
Photo past Patrick Huber
St. Louis Actors' Studio

St. Louis Actors' Studio is presenting Tribes at the Gaslight Theatre until December 16, 2018

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Vacation Cease-Motility TV Extravaganza
Directed by Suki Peters
Magic Smoking Monkey Theatre
Dec 1, 2018

Amy Kelly, Ben Ritchie, Joseph Cella
Photo by Ron James
Magic Smoking Monkey Theatre

Magic Smoking Monkey Theatre is back with all its quirky, unpolished an unapologetically silly approach to popular culture parody. The focus of their latest production is a look back at well-known cease-motion holiday specials from the 1960s and 70s, particularly the now-iconic Rankin-Bass hits Rudolph the Cherry-red-Nosed Reindeer and The Year Without a Santa Claus . And in that location are commercials, too!

As is usual for this visitor, the look and atmosphere is colorful, but not overly polished in terms of production values. There's an all-purpose holiday-themed set, whimsically painted by Trick Smith, and some clever costumes by Kayla Lindsey that suggest the wait of these well-known specials without trying to look exactly like them. The energy comes from the whimsical atmosphere, the period-styled commercials, and slightly twisted and occasionally slightly raunchy approach to the story (mostly PG-13, I would say), and especially the hilarious comic performances. Many of these performers have been in Magic Smoking Monkey shows before, and the temper is enthusiastic and joke-a-infinitesimal funny. Also, aside from Santa (Ben Ritchie), everyone plays ii or more characters over the class of the two stories presented here. For the about part, the plots follow the specials on which they are based, with a few additions and tweaks–for instance, one source of debate about Rudolph involves the Island of Misfit toys and its non being obvious why Dolly (Payton Gillam), a seemingly typical lilliputian daughter doll,  is a "misfit". Well, this show has answer for the that. The jokes range from visual to exact, and if yous don't express joy at one, there is bound to exist some other that you will discover hilarious.

There'south a nifty bandage hither, as well, with standouts being Ritchie's droll Santa, Amy Kelly's spunky Mrs. Claus, Shannon Nara in a dual function equally Clarice the reindeer and as the no-nonsense Female parent Nature, Ron Strawbridge in a number of roles including the competitive Rut Miser, Gillam in several roles, and Joseph Garner every bit Rudolph. The biggest standout, though, has to be Robert Thibaut, who puts in 2 scene-stealing performances, get-go as Hermey, the elf who wants to exist a dentist in the Rudolph story, and then in an old-fashioned song-and-dance act as Snow Miser in Yr Without a Santa Claus . There'due south a lot of offbeat energy here every bit usual, and it'south a fun way to appreciate some of the more than kitschy elements of holiday pop culture. These 2 specials are classics, and they're given a suitably over-the-top, truly hilarious treatment by Magic Smoking Monkey that's a whole lot of festive fun.

Cast of Vacation Terminate-Motion Extravaganza
Photo by Ron James
Magic Smoking Monkey Theatre

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A Christmas Story
by Philip Grecian
Directed by Seth Gordon
Repertory Theatre of St. Louis
November thirty, 2018

Charlie Mathis, Laurel Casillo, Brad Fraizer, Spencer Slavik
Photo past Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Information technology's time for the Rep's vacation show, and this year it's one that's get something of a mod classic. This version of A Christmas Story,  though, is not the musical version that's become pop of belatedly. Information technology'due south a not-musical play adapted from the well-known film and the stories of humorist Jean Shepherd, who as well narrated the film. It's an adaptation that expands on the film slightly, simply likewise doesn't work quite besides as the picture show or the musical, for that matter. Still, as staged at the Rep, it'due south an entertaining product celebrating nostalgia and featuring some especially strong performances.

Like the film, this is narrated, but unlike the film, the narrator actually appears on stage and occasionally interacts with the rest of the characters. He'due south the grown-up Ralph (Ted Deasy), who is reminiscing about his childhood in 1940s Indiana, and especially a particular holiday flavour in which his younger cocky, Ralphie (Charlie Mattis) was determined to receive the perfect Christmas nowadays–a Red Ryder BB gun. The quest for this idealized dream gift forms the basic structure of the story, but in addition to this theme nosotros see a pic of Ralphie's family unit and life in a specific fourth dimension and place. Like the musical version, this version puts a niggling focus on Ralphie'southward parents (Laurel Casillo, Brad Fraizer) than the film does. We likewise meet Ralphie'southward friends and classmates, including his best buddies Motion picture (Dan Wolfe), and Schwartz (Rhadi Smith), and the local bully, the menacing Scut Farkas (Tanner Gilbertson), besides as 2 girls in Ralphie'south course–the academically gifted Helen (Gigi Koster), and the kind Esther Jane, who engages in an awkward flirtation with Ralphie. The well-known elements from the film, such as the flagpole incident, Ralphie'south "Old Man'southward" obsession with mail-in contests and his resulting "major honor", the frightening trip to run into a department store Santa, are here, along with some additional moments especially for Older Ralph and the parents. It's a "slice-of-life" kind of evidence, and it's fun for the nigh function, although there are moments that don't work besides on stage, such every bit the Santa moment, especially since nosotros don't really see Ralphie and his brother Randy (Spencer Slavik) with Santa, who is only an off-stage voice. Likewise, the older Ralph character tends to dominate the story a little too much. The narration convention works well enough, but information technology comes across every bit a lilliputian also much at times.

The production values hither are skilful, as well, although not quite as impressive as I've generally come to look from the Rep. The 1940's look and atmosphere is well maintained especially through David Kay Mickelson's costumes, that manage to evoke the wait of the film without exactly copying it much of the time. Michael Ganio'southward set is first-class, particularly in the detailed representation of Ralphie'due south family'south business firm, but the section store Santa set is more than underwhelming. At that place'south strong atmospheric lighting by Peter E. Sargent and audio by Rusty Wandall that help set and maintain the mood of the play and the sense of wintertime and the anticipation of the vacation flavor.

The biggest asset of this show is its cast, and especially the first-class Mathis in a winning performance as the adamant Ralphie, and Casillo and Fraizer who are equally strong as his quirky parents. The family scenes, in fact, are the highlight of this production, although Jo Twiss equally Ralphie's teacher Miss Shields too contributes a memorable operation. Deasy is mostly amiable as the older Ralph, although he does seem to be overdoing the "cornball wonder" aspect sometimes to the betoken of seeming artificial. In that location are some fine performances amid the rest of the kid performers in the cast, as well.

A Christmas Story is a somewhat unusual story in that information technology's a combination of exaggerated comedy, folksy humor and affectionate nostalgia. That tone works meliorate on film and in the musical than information technology does in the stage play, but the Rep'south product has its memorable moments, as well. For the most office, information technology'southward an entertaining, well-bandage rendition of the story that'due south become a modern classic.

Charlie Mathis, Ted Deasy
Photo past Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Repertory Theatre of the St. Louis is presenting A Christmas Story until December 23, 2018

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An Human activity of God
past David Javerbaum
Directed by Edward Coffield
New Jewish Theatre
November 29, 2018

Cassidy Flynn, Alan Knoll, Amanda Wales
Photo by Eric Woolsey
New Jewish Theatre

It's kind of like a cross betwixt a late-night cable admission evidence and a Netflix comedy special, but the host is God. An Act of God is New Jewish Theatre'due south latest production, featuring a well-loved local actor and a lot of joking, philosophizing, and a whole lot of snark. Information technology's a short play, running a little over an hour with no intermission, and it succeeds more often than not because of personality and attitude, although its philosophical musings range from the mildly thought-provoking to the "been in that location, heard that".

The play is written by playwright, author, and television writer David Javerbaum, who is likewise responsible for the Twiter account @TheTweetofGod. If you've read his Twitter, you'll accept a adequately skillful thought of what this rendition of God, played past Alan Knoll, is going to say. The premise is that God has a message for the people of earth, and so he inhabits the body of "St. Louis theatre treasure" Knoll to give his presentation, assisted by two angels, Michael (Cassidy Flynn), and Gabriel (Amanda Wales). Apparently, the Supreme Being has decided that his original 10 Commandments are obsolete (or, at least, nigh of them are) and he's now here to nowadays a new, improved prepare for the modern world. I won't give them all away, but they are accompanied by explanations and commentary, in which he provides an caption, including revised take on well-known Bible stories and concepts, coming across largely equally sometimes charming, sometimes witty, frequently snarky, and not a picayune flake vain, giving answers to age-one-time questions in a sometimes thought-provoking and sometimes smug style. Depending on your personal religious beliefs, this can range from funny to annoying, but one thing it definitely is is irreverent.

The play is most constructive equally a showcase for Knoll, who lends his stiff, affable stage presence to this larger-than-life, occasionally apologetic, more-than-occasionally confrontational and capricious portrayal of God. Information technology's an energetic, well-timed comic performance that makes the most of the material Knoll is given. He also has strong chemistry with his angels–the equally excellent Flynn as the increasingly challenging and questioning Michael, who fields questions from the audience (sort of), and Wales equally the devoted, more artless Gabriel, who reads the Bible passages equally needed. They're performing on a well-realized set by Josh Smith that resembles the brick-wall-backed phase of a one-act club, and they're whimsically outfitted past costume designer Michele Friedman Siler. The lighting past Josh Smith, sound by Amanda Were, and projection design by Michael Perkins too support the product well, helping to create and maintain the irreverent, comedy-club type atmosphere. There are fifty-fifty some tables in the front where audition members can sit.

An Act of God is not for everyone, but it's an excellent showcase for its leading performer. Information technology'due south a funny, sometimes crass, sometimes confrontational exploration of the way God and faith has been viewed, and sometimes twisted, over the years. Depending on your own personal views, that challenge tin be seen as incisive, simplistic, or incomplete, merely it'due south certainly not boring. It'due south not exactly divine, only it's one-act, with a stiff personality at its heart.

Alan Knoll
Photograph by Eric Woolsey
New Jewish Theatre

New Jewish Theatre is presenting An Human activity of Godat  the Marvin & Harlene Wool Studio Theatre at the JCC's Staenberg Family Complex until December 16, 2018

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