Opportunities to see a Eugene O’Neill play on a St. Louis stage are rare, so you should take the chance to see this one, not just because it’s O’Neill, but because it’s terrific theatre. Director Philip Boehm and his cast and crew have not made a misstep in rendering this difficult masterpiece.
The New Jewish Theatre’s production of Neil Simon’s Lost in Yonkers is a delight from beginning to end. It isn’t a perfect play, but under the sure direction of Doug Finlayson and the abundance of talent on stage and behind the scenes, it is rendered as a lovely and relatable story of family with all that word emotions that powerful word connotes.
I’m not sure how to classify Steven Dietz’s Inventing Van Gogh. It is an epistolary drama constructed in a multi-layered way with aspects of spiritualism and magic realism in the mix. It is didactic (it’s tricky to create dialogue from letters, which is what Dietz has done) but, despite his bona fides and they are impressive, he doesn’t seem up to making many of these speeches sound like anything other than what they are: words meant to be read and not spoken. I’ve only seen one other Dietz play—Becky’s New Car—and I didn’t think much of it either.
It is true that no one knows what goes on in other people's marriages. And when couples decide to split, everyone immediately worries about the effect on the children and, of course, the husband and wife. But these are not the only casualties when a marriage goes off the rails. What about the friends? Who gets 'custody' of them? How will this refiguring of the divorcing pair's relationship affect their married pals?
Mr. and Mrs. Zero (Chuck Brinkley, Kimberly D. Sansone) have been married 25 years. Mr. Zero has worked as a bookkeeper for 25 years. Mr. Zero is unhappy. Mrs. Zero is unhappy. When Mr. Zero is fired instead of getting the promotion he expected, he kills his boss, is executed and eventually learns the secret. The end.
Lynn Hallaby (Nicole Angeli) doesn’t know why she needs to go to Alaska and work as a commercial fisherman. Her family, including husband, Ray (Eric Dean White); parents Margie and Hudson (Peggy Billo, Joe Hanrahan), and brother Kelly (Charlie Barron) haven't a clue either. All she is sure of is that this is something she must do, and all her family is determined to do is stop her.
Director Deanna Jent reprises one of her best-known productions in this version of Going to See the Elephant by Karen Hensel and Elana Kent. In the theatre community, the now-defunct but highly respected Orange Girls Company offered this play, director and leading lady, Nancy Lewis, as its first outing and it won several Kevin Kline Awards, including one for Lewis at “Maw,” surprising almost everyone.
In the beginning there was the word. And in the middle and in the end, more words announce our arrivals and departures from this world. Words inform us of the past and outline our hopes for the future. But what if we knew the future through words given us by a magical machine?
Theatre farce has been around since Aristophanes worked in ancient Greece, and Plautus created laugh riots in Rome.
A current form of ostentatious patriotism seems to hold that soldiers are “heroes.” All soldiers, at least as long as they are American and are, have, or are willing to serve in remote desert wars of dubious worth.