The West End Players Guild tag line is “big theatre in a small space”. They are true to their word with this excellent production of The Seafarer - a powerful, darkly funny journey into the language-rich world of Irish playwright Conor McPherson’s native Dublin.

OnSite Theatre Company has an intriguing new production in its latest offering, the world premier of Hit-Story, by St. Louis playwright Carter Lewis. OnSite Theatre does not stage their productions in a particular theatre, but instead selects venues that enhance the work in question. In this instance, their venue for Hit-Story is Sweat, 8011 Maryland Avenue, a fitness center/boxing gym in Clayton, a perfect location, as the play requires a boxing ring. I am then intrigued and wonder if the play was written specifically for the venue, or the venue was chosen in response to the creation of the play? Just curious.

In simplest terms, theatre is a script come to life through the artistry of a capable cast and crew. I know I’m stating the obvious, but bear with me. 

From the moment you enter the Kranzberg Arts Center, you sense quality:  beautiful renovations, artistically-displayed concession, the open doors of the Craft Alliance gallery inviting theatre goers to browse the current installation (still in progress but already very interesting).  Combined, they make a strong, positive first impression, one which is enhanced by HotCity’s comfortable, intimate, well-equipped, 90-seat black-box theatre. 

No one is ever more than a few feet from the story, the actors and action.  I like this very much.  First impressions continue with the set:  very clean, modern, smooth walls of warm earthy colors, an up-scale living room with hardwood floors, abstract wall hangings - a simple yet wonderfully appropriate design by James Holborow.

In fact, with only the most minor exceptions (pre-show music and sound quality), these first impressions carry throughout every aspect of the production. 

The acting was convincing, strong and sustained.  In such an intimate space, there is nowhere for an actor to "hide".  Every nuance of movement, no matter how small, and of vocal expression is on display, up close and personal.  Shanara Gabrielle as Cassie, Shaun Sheley as Kurt and Sasha Diamond as Tiffany did a superb job. 

Lighting by Sean M. Savoie was simple, subtle and added to the telling of the story, most notably in a sequence of light cues signaling the passage of time from evening, to night, to post-midnight, to wee hours - or so I imagined, anyway, such was the suggestive yet suble power of his design.  And the same can be said of costumes by Jane Sullivan and props by Meg Brinkley.

So, back to my opening comment.  The artistry of actors, designers and technicians – under the able direction of Marty Stanberry – was clear and compelling.  Kudos to all.

Now for the words, the play itself.

THE WINNERS is the premier production of this David L. Williams play which won HotCity’s 2010 Greenhouse New Play Festival.  It is an interesting, well-conceived piece.  A married couple win the lottery - and win big.  Now, what to do with the money?  And one of their first decisions is to hire an escort, a call girl, who will satisfy all of their sexual fantasies.  ALL of them.

No, the play is not for everyone. Act I heavily relies on sensuality and seduction, an arranged meeting of the couple, Kurt and Cassie, in their living room, where the entire play takes place, with Tiffany the escort for the night's activities. 

The seduction scenes are well done and tasteful – but not family fare and may not appeal to those uneasy over even suggestions of 3-way sexual encounters, much less the two women's prolonged kiss or Tiffany's partial undressing of Kurt.  And there is some rough language throughout.

However, as stated, the scenes are tasteful and – more to the point - slowly evolve into a more sinister tale of money, power, self-esteem, guilt, and, possibly even, a type of love.

By the end of Act I, it is clear much more is going on among these three individuals and in each of their psyches than could have been foreseen.  It whets one’s appetite – as good theatre does - for what may come.  No one leaves at intermission.

Yet, something happens at intermission, something a bit inexplicable.  The three people who stepped onto the stage at the top of Act II were not the same who stepped off at the end of Act I.  In fact, they were so different in tone and temperament, in attitude and manner that I felt I was watching a second play, a sequel or revision of the first involving the same people, the same plot, but with characters of a very different mind-set.  The tension, sinister motives and demeaning, debasing behaviors exhibited by all three characters were gone. 

Why, how, when the rising tide of suspence and conflict was resolved is unclear.  And, while there is certainly still a twist in the end, it doesn't seem to follow clearly in kind or intensity from what preceded. 

Now, don't get me wrong.  I don’t write this to discourage anyone from attending this smart, tightly written, sometimes comic, sometimes tense drama.  It is a well-crafted piece.  It is a HotCity Greenhouse winner – no small feat.  And the playwright, David L. Williams, has more than enough credits to his name to attest to his own artistry and craft.

All in all, THE WINNERS makes for an interesting evening of theatre, in a fabulous space, staged by a very talented and practiced company.  And it certainly leaves you talking - always one of the nicest take-aways of an evening of good threatre.

Years ago, I lived in the Middle East near a group of British expats, aircraft mechanics, who frequently staged shows with great enthusiasm. KTK's production of The 25th Annual Putnam County Spelling Bee, or "the bee", reminded me of this. It is what I think community theatre was meant to be.

Some films strain too obviously and nakedly toward profundity, and Stone qualifies in that category. Corrections officer Jack Mabry must certify the rehabilitated state of Gerald "Stone" Creeson, who, aided by his shameless wife Lucetta, proves adept at manipulative mind games.

The subtitle of Cormac McCarthy's The Sunset Limited is “A Novel in Dramatic Form.” Therefore, it's not surprising that nothing really happens during the play, other than two black-and-white dudes sittin' around talkin'. But most of the time, that is enough, and by the second half of Act II, more than enough. Archie Coleman, Bob Harvey, and director David Houghton have created an intriguing evening of theatre that I hope audiences will support.

At its heart, David Auburn's Proof is a mystery. Did Catherine (Colleen Caul) create a proof for a mathematical assumption long considered to be beyond the capabilities of the best minds of the century, or was she taking credit for her dead father's (John Contini as Robert) work? Can she prove she's telling the truth about the proof? Will she? These questions are central to this examination of the intersection of genius and madness symbolized by the arcane hieroglyphs of higher mathematics.

A few seasons ago, the Rep Studio Theatre mounted a production of Jeffrey Hatcher's A Picasso. I argued that I had never seen it until my husband showed me the playbill as proof. (Beware of collecting such things if always being right is important to you.) So, I then regretted volunteering to review it, assumed I simply hadn't cared for it and relegated it to my mental trash file. That was a mistake, as it turns out, having now seen, enjoyed and appreciated the West End Player's Guild's production of A Picasso.

Years after her death, Agatha Christie's stories and plays continue to draw legions of loyal fans. Her is appeal is very understandable when you see a play like Witness for the Prosecution, currently in production at the Theatre Guild of Webster Groves. Normally, Christie's works are a bit tongue-in-cheek 

Flood Stage Productions, which once was known as the St. Charles Community Theater, has resurfaced as the theater company in residence at the revitalized Grand Opera House on Main Street in St. Charles. First opened in the 1880s, the remodeled, two-story structure is an impressive building whose rich history lends itself naturally to the ambiance of the charming Main Street district on the western bank of the Missouri River. Now open for banquets and other events, the basement and first floor are spruced up and sparkling, offering a welcome destination for visitors.

There are no director's notes in the playbill for "The Country Girl." The artistic directors' page says: ". . . we believe art speaks to everyone in its own context, and therefore we will let the play speak for itself." In this case, I'd like to know what someone whose vision has guided the piece here, Jim Anthony has to say about what he hoped to accomplish and why he chose to direct this particular work.