Four plays kept St. Louis audiences riveted this month. Here’s my take on one production you may have missed and three more you’ll have to hurry to see.
A Funny Thing Happened on the Way to the Forum
Through June 24 at Marcelle Theatre, 3310 Samuel Shepard Drive
New Line Theatre keeps the laughs flowing with a mostly faithful to the original A Funny Thing Happened on the Way to the Forum that entertains without quite knocking my socks off. The original Broadway production is a valentine to vaudeville wrapped in a Roman toga. In New Line’s new iteration, solid performances, a cartoonishly fitting stage design and exaggerated direction by Scott Miller embrace the sometimes cheesy, sometimes cheeky script and score, ensuring the show is entertaining in a nostalgic way.
Kent Coffel is spry, a little cranky and a total gossip, full of the inside scoop, as Pseudolus, our narrator and part of Senex’s household. Ian McCreary and Sarah Wilkinson delight as the young lovers Hero and Philia, with over the top sighs and much batting of the eyelashes, complimented by voices that pair quite nicely. Ann Hier Brown and Danny Brown make the most of their character’s eccentricities, adding much humor to always spot-on vocals. As the Proteans, Nathan Hakenewerth, Brittany Hester Kohl and Aarin Kamphoefner lean into the bawdy, physical humor while adding needed energy.
Overall, I wish the company would have added some twists to update or reframe the more overtly sexist and classist references that land with less satisfaction than they did 60 years ago. Thankfully, the jovial tone, over-the-top characterizations, dad jokes and much of the vaudevillian humor still work, ensuring New Line Theatre’s A Funny Thing Happened on the Way to the Forum is a recognizable nod to the original show.
Gloria: a Life
Ran through June 18 at the New Jewish Theatre
New Jewish Theatre’s production of Gloria: a Life captures the spirit of persistence and hope that epitomized the women’s equality movement in the decades immediately following passage of the Civil Rights Act. The story and staging effectively weave different perspectives into this retelling of the E.R.A. era in ways that captivate and educate.
Though it centers on the movement’s best-known spokesperson, Gloria Steinem, Emily Mann’s script is actually a thoughtfully constructed history lesson delivered via an interesting and personable chat. Steinem’s characterization is enhanced by portrayals of the circle of important feminists and citizens who influenced her life and commitment to the cause. The ensemble scenes add texture, context and visual interest that keep the energy high and the story moving.
Director Sharon Hunter elicits excellent performances from the cast, particularly Jenni Ryan, who stepped into the role of Steinem on very short notice and turns in the strongest work I’ve seen from her in a dramatic role. Summer Baer, Kayla Ailee Bush, Sarah Gene Dowling, Carmen Cecilia Retzer, Chrissie Watkins and Lizi Watt add context, depth and action that keeps the story lively without stealing focus. The second act of the show is a conversation, guided by different prominent women from the community at different performances. Participation is an individual decision; all are encouraged to listen and thoughtfully engage.
Up next at New Jewish Theatre is The Immigrant, the captivating true story of Haskell Harelik, written by Mark Harelik and directed by the company’s artistic director Rebekah Scallet.
Vampire Lesbians of Sodom
Through June 24 at Stray Dog Theatre, 2336 Tennessee Avenue
Travel with Stray Dog Theatre company through history with the laugh-out-loud funny story and perfectly balanced camp of Charles Bush’s Vampire Lesbians of Sodom. Refreshingly silly without losing its story arc, the one-act show is 90 minutes of over-the-top fun, as not one but two vampires beckon, bicker and bite their way from Sodom to 1920 Hollywood and 1985 Las Vegas.
Sarajane Clark is the original vampire succubus, and Xander Huber the unsuspecting sacrifice offered to soothe Clark’s ravenous desire for virginal blood. In a panic, Huber latches on to Clark just as Clark’s teeth sink in. Next we see silent screen star Clark challenged by the up-and-coming Huber, as both vie for Greta Johnson’s ingénue neck, leading to the final scene where Huber has ascended to stardom as Clark plots her return. The stories are funny little scenes that the two connect with delightful aplomb and defiant attitudes.
The ensemble is almost as fun to watch as Clark and Huber. Rachel Bailey and Nara are their own little sideshow, stealing the transitions with frequent assists from Sean Seifert, and Bailey and Victor Mendez capably and comically fill in the story gaps. The play zips along pleasantly under the direction of Gary F. Bell, who knowingly captures the spirit and excess of camp without losing control of the story. Intended for more adult audiences, Vampire Lesbians of Sodom is great entertainment that still leaves time for a late dinner or dessert.
Absent Friends
Through June 25 at the Kranzberg Black Box Theatre, 501 N. Grand Avenue
British playwright Alan Ayckbourn’s modern comedy of manners Absent Friends gets a well-crafted and lively interpretation from one of St. Louis’ newer professional companies, Albion Theatre. Set in an English suburb in the mid-1970s, the throwback comedy still hits a number of nerves with a funny twist and direction by Robert Ashton that shows a keen understanding of the playwright’s sensibilities.
Set during tea at the home of Diana and Paul, the story plays out in real time, although it likely feels much longer to the characters on stage. Colin has recently lost his fiancée, and his college friends, who haven’t seen him in years, have all gathered for tea and sympathy. The others are still close — some uncomfortably so — but cannot agree on whether to bring up the fiancée’s passing. The talented ensemble of Annalise Webb, Nicole Angeli, Anna Langdon, Jason Meyers, Mike De Pope and Ben Ritchie deliver each funny bit with a proper stiff upper lip exaggerating the humor.
As the afternoon continues, the tension and miscues build, making the whole situation ripe for the true hallmarks of British comedy: clumsy conversation, pratfalls and visible discomfort, delivered with a proper mix of British decorum, misplaced assumptions and unfortunate turns of phrase, expertly telegraphed. Absent Friends is endearingly and awkwardly funny, if a bit too set in its period, and an entertaining choice for a fun night out.
Subscribe to Riverfront Times newsletters.Follow us: Apple News | Google News | NewsBreak | Reddit | Instagram | Facebook | Twitter | Or sign up for our RSS Feed
