Current Reviews

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A Midsummer Night's Dream

In the interest of full disclosure, I feel I must admit this right off the bat: I am not a Shakespeare fan. Yes, I understand that it seems sacrilegious to say, especially for someone who loves the theater. But it is true; I’ve always felt that Shakespeare was stodgy, old, and unable to relate to the modern audience. Sure, I certainly respect the man for his contributions, both to the craft of theater and the modern English language as a whole, but for me to claim to be a Shakespeare fan would be wrong. Having only read his plays and never seen them live, I also understood that I was not in any position to judge the relative worth of his plays. After seeing St. Louis Shakespeare’s performance of A Midsummer Night’s Dream, I must confess that my initial impressions of Shakespeare were wrong. Dead wrong. Far from being stodgy and stale, this play seemed fresh, vibrant, and fully relatable to the modern audience.

A brief synopsis for those unacquainted with the Bard’s play: Lysander (Ben Ritchie) and Hermia (Tonya Darabcsek) love one another. As this is Shakespeare, however, something must prevent the two from being together (and in fact, Shakespeare clearly states it with the line, “The course of true love never did run smoothly”). In this case, it is Hermia's father, Egeus (Phillip Bozich), who stands in the lovers' way. He wants his daughter to marry Demetrius (Brendan Allred), and correctly points out that Athenian law dictates that his daughter is his property and therefore should marry whomever he pleases. Unsatisfied with the choice of marrying Demetrius or dying single, she and Lysander plot to run into the woods to get married. Helena (Kimberly Mason), friend to Hermia, is in love with Demetrius and plots to win his love by revealing the duplicitous plan. Once in the woods, Oberon (Dave Steckel) overhears Helena's unrequited love-sickness, and employs Puck (Jennifer Theby) to cast a spell on Demetrius that will cause him to fall in love with Helena. Through a mishap, Puck winds up casting the spell on both men, and both for fall Helena, much to her (and Hermia's) chagrin. Not to ruin the end, but as this is a comedy, by the end of the play, one can imagine who winds up with whom and lives happily ever after.

The true highlights of the play, however, are the scenes which involve the Athenian tradesmen, with Todd Gillendaro giving a hilariously scene-stealing performance as Bottom. These tradesmen are in the woods rehearsing for a play to be performed at the Duke’s wedding, and all the actors in this group (Phillip Bozich pulling double-duty as Peter Quince, Dustin Allison as Francis Flute, Roger Erb as Robin Starveling, Aaron Orion Baker as Tom Snout, and John Wolbers as Snug) bring these hapless, bumbling, good-natured characters to life. Gillendaro seemed to evoke the classic Monty Python characters of the Gumbys with his comical voice and delivery; perhaps it is the inner nerd in my demanding a voice in this article, but I kept waiting to hear him exclaim, “My brain hurts!” Each scene which involved Gillendaro inevitably led to laughs, especially his performance in the final scene as Pyramus, performing for the Duke and the wedding parties. Baker also deserves an extra kudos for playing a rather convincing wall.

The direction of Milt Zoth kept the play running smoothly, keeping a good pace throughout. The set design, while just a simply Greek ruin, allowed the actors enough room to work without unnecessarily bogging the stage down with cumbersome scenery (and, in fact, Puck begins the show after the intermission in the audience itself, an interesting technique that drew the audience immediately back into the action of play). The lighting is also used to good effect, doing well to create the illusion of magic with something as simple as lighting changes. The costumes were rather simple, but that is really the only negative to be found in a play brimming with positives.

An excellent performance that proved that Shakespeare still can have the same relevancy and freshness almost 500 years after its initial debut. Each actor was able to breathe life into their characters, showing the timelessness of Shakespeare that no doubt holds appeal for many theater-goers. Shocking as it may seem to me, after this performance, I believe it can be revealed: I am now a fan of Shakespeare.

By Mark Bruder, Playback STL
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A variety of comic styles are on display in this St. Louis Shakespeare production: The four young lovers cavort in the vein of the Three Stooges, while the Rustics appear to be fans of Monty Python — so much so that Bottom (Todd Gillenardo) seems to be channeling Michael Palin. Jennifer Theby is a lithe Puck, devilishly slithering through her scenes with great energy. The play's comic conclusion is delightfully performed, with a standout delivery of the prologue by Phillip Bozich and a most gently roared lion (John Wolbers). Director Milt Zoth gets the most successful comedy when he focuses on character rather than just physical jokes added on top of the dialogue — Donna Northcott's Titania and Theby's Puck both find excellent character-driven humor. Jennifer "JC" Krajicek's costumes are a visual treat — ranging from Athenian togas to fantasy confections for the fairies.

By Deanna Jent, Riverfront Times
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Near the end of "A Midsummer Night's Dream," the duke of Athens and his bride agree to watch a play that local workmen have put together in honor of their wedding. Actually, only the duke agrees; the new duchess thinks it sounds awful. The duke persuades her to relax and enjoy herself.

True, he urges her in Shakespeare's shimmering, subtle language, but that's pretty much what he means. It's good advice for lots of theatergoers, including those who see the larky new production of "Midsummer" at St. Louis Shakespeare.

Director Milt Zoth delivers an exceptionally physical "Midsummer," an externalized dream that careens across the stage. Romping lovers, fist-fighting rivals and fleet-footed fairies keep things moving, as three sets of romances resolve on a night in the woods. The loving combatants are played by Tom Mcatee and Kimberly Sansone as the duke and the duchess; Dave Steckel and Donna Northcott as Oberon and Titania, the king and queen of the fairies; and Brendan Allred, Tonya Darabscek, Ben Ritchie and Kimberly C. Mason as two mixed-up young couples.

How busy the woods are! The actors are more or less constantly on the run. Women ride their lovers' backs like cowgirls or jump into their arms like flying monkeys. Young noblemen "accidentally" trip each other before they start to shove, like little boys. And our guide to this crazy world, an imp called Puck (winsome Jennifer Theby), might do anything from a deep plie to a mad dash down the aisle to a long, slow doubletake, timed right down to the lift of an eyebrow.The production looks terrific, thanks to a Hellenic-lite set (pillars and pediments, tastefully broken) and smart lighting by Jim Davis, and to Jennifer "JC" Krajicek's costumes. Her fairyland creations are especially good. Titania's stunning attendants (Katie Lindley, Hannah Emerson, Devon Cahill and Emilee Wolfe) look like the Ziegfeld line on a budget; Krajicek's hints of magic animals bring a witty touch to the dragon-like Oberon and unicornesque Titania.Steckel and Northcott make the fairy rulers into the comedy's most "realistic" couple. As they bicker, negotiate and embrace (happy ending!), their strong performances describe the course of many ordinary, long-lived relationships. [ ... ]

By Judith Newmark, St. Louis Post-Dispatch
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Dangerous Liaisons

St. Louis Shakespeare has opened a highly polished production of Les Liaisons Dangereuses. This very adult tale was penned as a novel in 1782 by Choderlos de Laclos and adapted for film and stage by Christopher Hampton. The story follows the (may I say) “ins and outs” of an erotic conspiracy between a certain Marquise de Merteuil and her one-time lover, the Vicomte de Valmont. The Marquise proposes a little game to her friend Valmont: he is to debauch a young virgin, thereby inflicting dishonor and humiliation on the man to whom the girl is engaged—a man who has insulted the Marquise. So it's a little plot of vengeance, the girl serving merely as a convenient weapon.

But the plot is complicated by Valmont's reluctance. You see this infamous roué has another seduction on his day-planner—that of Mme. de Tourvel whose impenetrable virtue will shine as a major feather in his cap. Moreover, he is also eager to rekindle his affair with the Marquise. Well, the Marquise agrees that should Valmont conquer the virgin she, the Marquise, will yield
to him.

Lavonne Byers was born for the role of the Marquise; she has that confident carriage, that aristocratic profile. And Matt Kahler makes a smooth and articulate Valmont. They carry the burden of the piece with ease and grace. Carrie Walther is deliciously fresh as the victimized Cecile. Karen Klaus, as Cecile's mother, shows us where the maiden gets her beauty. As Mme de Rosemond, Valmont's aunt, Donna Weinsting gives another assured and charming performance. Jill Ritter makes a vivacious courtesan, and Daniel Malmberg (Byron Hotson) glows with naiveté as the young Chevalier Danceny.

But for me the finest performance of all is that of Julie Layton as Mme. de Tourvel. Ms. Layton makes the lady's iron grasp on her honor both believable and admirable; she makes her agony at relinquishing that honor utterly heartbreaking.

The several minor roles are wonderfully filled. Particular praise must fall on Bob Hodgins as the nearly silent Major Domo; what simply amazing authority and dignity!

All of this is enhanced by superb production values. Patrick Huber's set is simple and graceful; lighting by Jim Davis is fluid and effective; Robin Weatherall's sound design is quite gorgeous and drifts down from a live chamber orchestra in the balcony. Perhaps most outstanding of all are JC Carter's utterly beautiful costumes—properly period, perfectly fitted. Quite wonderful! So director Milt Zoth has put together a package to be proud of. Even the rather many scene changes are swift and graceful and lovely.

I did find two small deficiencies, however: First, the make-up. These aristocrats lacked the rather heavy coats of paint and powder that was de rigueur in this period—even for men. They would not appear in polite society with their faces so nearly nude. This is not just a point of period correctness; no, there is dramatic import as well: for the Vicomte and the Marquise these masks of elegance conceal a profound moral corruption.

Secondly, the Vicomte would not be seen in society without a powdered wig. But above these two minor deficiencies I also found a major one. I didn't shudder. This story should convince a liberal theatre-going audience that the term “moral degenerate” is not just a fevered Republican fantasy, but an actual, horrible reality. The utterly unfeeling abuse and destruction of the two innocent women should show the Vicomte and Marquise as soulless, heartless monsters. Their kiss should be the kiss of corpses. More than once Ms. Byers stoops to a quite inappropriate smirk. She does indeed convey the Marquise's suffering when her plan goes awry and she loses Valmont, but Kahler, when he breaks off Valmont's affair with the one woman he's ever truly loved, shows absolutely none of the agony that the Vicomte must be suffering. So this beautiful production lacks a little of the chilling evil and the bitter pain that it needs. The adaptation itself is a little bloodless. In some ways I preferred the Stony Breyer adaptation which the company did some years ago; it was strong and bloody and very successfully shocking.

But the current production is nevertheless very strong. It's Les Liaisons Dangereuses by St. Louis Shakespeare at the Grandel.

By Steve Callahan, KDHX radio
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The Winter's Tale

The last scene of "The Winter's Tale" takes place in a noblewoman's private art gallery, where, she says, she keeps a beautiful statue of the late queen. The members of the court who have come to admire it are overwhelmed. It shows the queen in every detail, a gem of characterization.

So is the production of "The Winter's Tale" that opened on Friday at St. Louis Shakespeare. Concentrating on character above all, director Donna Northcott introduces us to a full gallery of fascinating figures, each one lucid and distinct.

It's a very smart approach to this particular play, one of Shakespeare's last. The plot makes next to no sense. But the characters - many of whom echo familiar characters from plays that are more often produced - are brilliant. Follow them and the story falls into place without effort. By the happy ending, Northcott's audience feels for them all.

Thanks to the subtle performance from Anthony Mullin, that warmth even comes to embrace Leontes, the powerful king of Sicilia, who is to blame for everything that goes wrong.

Othello and Iago rolled up in one, Leontes convinces himself that his pregnant queen, Hermione (Meghan Maguire), and his dear boyhood friend, the king of Bohemia (William Roth), are lovers. Glowering and implacable, the king nearly destroys everything that matters to him until his fury spends itself, leaving him exhausted and penitent, like a child after a tantrum. But a king's tantrums do terrible damage. Stiff and scowling, Mullin invests Leontes with authority in rage and remorse alike.

Leontes doesn't need to act as rashly as he does; everyone assures him that he's wrong. They includes his courtiers, tentatively trying to coax him to reason without overstepping their bounds, and the art-collecting noblewoman, Paulina (Brooke Edwards).

Echoing other articulate Shakespearean heroines such as Portia and Rosalind, Paulina combines intelligence, a good heart and courage, which Edwards delivers with understudied refinement. But Leontes, saturnine on his outsized throne, has made up his mind.

He orders his friend poisoned (but he flees), has his baby daughter abandoned to the elements and makes his queen stand trial. After a thoughtful speech in which she refuses to make a defense to a nonexistent crime, noble-hearted Hermione collapses. Only the report of her death (offstage) makes Leontes return to his senses and the world he's torn apart.

But it's only intermission. In the second half of the romance, Northcott leads us to the inevitable happy ending with brilliant characters for guideposts.
There are almost too many fine performers onstage to name. Besides the principals, they include Alex Eichen as a keen-witted diplomat, Kevin Beyer as Paulina's tactful husband, Brendan Allred as the gallant Bohemian prince, Charlie Barron as a roguish thief, Kelley Ryan as a comical shepherd who discovers the foundling princess and Ben Ritchie as her witless son.

Jennifer Theby is adorable as the rustically raised princess. When we first meet her, she is actually dressed in flowers, embodying a winter story's hope. Even the smaller parts - courtiers, ladies-in-waiting, shepherd folk - are played with conviction and good humor.

The production design maintains Northcott's overriding aesthetic, with the emphasis on people, not places. Patrick Huber's stylized set and Jim Davis' lighting design are simple to the point of severity. But costume designer Michele Friedman Siler works wonders, dressing the Sicilians in Regency elegance and the Bohemians in a rhapsody of Oriental color and line.

You can't take your eyes off them - which is exactly what Northcott has in mind. Their vivid personalities make a complicated story easy to follow, because they break it down into personal terms.

By Judith Newmark, St. Louis Post-Dispatch
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The Winter's Tale is one of Shakespeare's very last plays. He wrote it, people think, right after Coriolanus, Pericles, Timon of Athens and that truly weird piece, Cymbeline. So he was not exactly on a roll. Yet he had a pretty good track record, having written Othello, King Lear and Macbeth only five or so years before, and in the following year he was to write The Tempest. St. Louis Shakespeare has opened a strong production of The Winter's Tale. In many ways it's a delight. But despite much excellent work by director Donna Northcott and many in her cast, the play's one central problem was not alleviated. It's more than a problem; it's a great boulder obstructing the way to any suspension of disbelief.

King Leontes of Sicilia, utterly without reason, is passionately convinced that his wife, Hermione, is having an affair with his best friend, King Polixenes of Bohemia. His jealousy has that same acetylene intensity as Othello's, but without the assistance of an Iago (whose “motiveless malice” always seemed pretty well motivated to me). In his jealous rage Leontes causes his wife's “death”, his infant daughter's abandonment on a foreign shore, and the exile of his most faithful courtier. Leontes' baseless jealousy is that boulder that cripples our ability to believe this story.

Now I know well that Anthony Mullin is a superb actor, and as Leontes he's very powerful, but in the first half of the evening, as the plot situation is established, he limits himself to a rather monochromatic glowering rage. It's here that he and director Northcott could have devised some basis, however slight, for the king's jealousy-but they didn't.

Kevin Beyer invests the role of Antigonus with his usual splendid detail and commitment. (I was really sorry to see him eaten by the bear.) Brooke Edwards gives a truly powerful and convincing performance as Paulina; Alex Eichen, with the dramatically expressive face of a young John Barrymore, does fine work as Camillo; William Roth is a stalwart Polixenes, and Meghan Maguire makes a most elegant queen.

The look of Leonte's court is most attractive-all costumed in whites and creams and black, in a sort of stylized Directoire. (Though I do think that a more closely-fitting boot would not only have been more consistent with the period, but would have made all the men much sexier.)

When the story moves to Bohemia, where the daughter is to grow up, it's as if we were in another play. Suddenly there's fine comedy, romance, and a distinctly pastoral air-not to mention an utter blossoming of costume. Here Michele Siler's costume design comes into its glorious own-with an overall vaguely Balkan flavor but with gorgeous oriental touches. There is wonderful, inventive business with kites and the magical maturation of the lost princess.

Kelly Ryan steals the show as the shepherd who adopts the abandoned infant. For once the swapping of genders that directors sometimes have to do in casting Shakespeare is roundly justified. Ryan is simply glorious, and she's ably supported by Ben Ritchie as her son.

Brendan Allred and Jennifer Theby are utterly believable and engaging as the young lovers, Florizel and Perdita. What a joy it is to see young actors growing so rapidly in authority. Charlie Barron is, as usual, excellent as the rogue Autolycus, though I was puzzled at why the most colorful character in the whole piece was costumed in bland beige-and with nary a touch of make-up.

Young Rachel Lindsay's sweet earnestness is perfect for the Chorus.

So, despite the boulder, The Winter's Tale at St. Louis Shakespeare has very much to recommend it.

By Steve Callahan, KDHX radio
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Compleat Works of Wllm Shkspr (abridged)

California, 1996: A group of three comedic actors, dubbing themselves the Reduced Shakespeare Company, give birth to a singular kind of original play, called Complete Works of Wm. Shakespeare [abridged]. These theatrical daredevils—Adam Long, Daniel Singer, and Jess Winfield—claim, in the beginning of this intriguingly named show, to be able to do something “never before done in the theatre”: they will, in the course of less than two hours, perform the entire canon of the Bard’s work. And then they do just that, hilariously and with breakneck speed and precision. They debuted their creation in London later that year to great acclaim, and the show still runs to this day. The success of Complete Works is ongoing, with performances taking place across the globe, and has spawned a whole series of “[abridged]: works, from the Bible to American History to All the Great Books.
St. Louis, 2005: St. Louis Shakespeare mounts the Complete Works, with a nimble, engaging cast—Brendan Allred, James Enstall, and David Cooperstein, directed by Carolyne Hood—for a series of one-night runs spread over three months. This production stays close to the intense nature of the original script (with some juicy cultural satire updates), and is truly side splitting.
The action opens with Enstall mounting the stage—the only adornments of which are some scattered furniture and a small scaffold—from the audience, where he has been acting as an usher. He explains to the audience what is about to transpire, and introduces Cooperstein, initially is playing a professor of Shakespeare who teaches at Lindenwood University (the first of several nods to the local audience). Allred is soon brought onstage, also from a seat in the house, and he commences to give us a brief history of the life of the Bard, who apparently was involved in World War II and ultimately died in a Berlin bunker with Eva Braun.
From there, the action takes off, beginning with Romeo & Juliet. Allred takes on the female lead, a theme that will continue throughout the evening. His Juliet is nauseous (literally—she vomits on several audience members) and horny (hilariously and loudly, she hit on this reviewer), while Enstall’s Romeo is perfectly foppish. Their tragic love story culminates in, of course, a supremely silly melodramatic death scene. And this is just the beginning.

Complete Works is so stuffed with send-ups, Shakespearian and otherwise, that there is no possible way to discuss them all. Some highlights include all of the Bard’s sonnets printed on a single three-by-five index card, Othello as hip-hop, all the history plays as a football game, a Frankenstein doll screaming “Stella!” repeatedly, Hamlet reading a book called Everyone Poops (“Words, words!”), and the audience performing, in a special engagement, as the psyche of Ophelia.
This show is as much a roller-coaster ride as it seems, and, as indicated, the cast is brilliant. There is much to be said for not simply sitting back and letting the fantastic script do all the work; Allred, Enstall, and Cooperstein breathe life into the words, be they Shakespeare’s or not, and they never let up for a second in the course of the show’s two hours. Hood’s direction keeps the action frenetic and loose, and her technical design elements are all just as they should be, particularly the props and costumes, which power the show along and add to the hilarity.
St. Louis Shakespeare’s The Complete Works of Wm. Shakespeare [abridged] certainly captures the elusive comedic magic that Reduced Shakespeare created with this original piece. But it only plays once more, in early September. A word of advice: Get a ticket early and go see this one while you can.

By John Shepherd, Playback STL
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No wonder that St. Louis Shakespeare - known for its thoughtful productions of Shakespeare's tragedies, comedies, romances and histories - loves "The Compleat Works of Wllm Shakespeare (abridged)."

Created by Adam Long, Daniel Singer and Jess Winfield of the Reduced Shakespeare Company, "Compleat Works" has triumphed at SLS in the past. Now artistic director Donna Northcott is bringing it back as a coda to this season's Mainstage shows.

It can bring in big audiences. It might make some money to support other, more lavish productions - and virtually all other productions are more lavish than the bare-bones "Works." Best of all, it gives the high-minded company a chance to laugh at itself. The audience gets to laugh, too.

Infected with a goofy, collegiate sense of humor, "Compleat Works" is delicious if you know Shakespeare well enough to catch its shrewd allusions. But it's also pretty funny if you know the Three Stooges and like your humor on the silly, physical side."Compleat Works" tears through all of Shakespeare's plays at breakneck pace. It serves up "Titus Andronicus" as a cooking show, turns "Othello" into a rap number and combines the comedies into one big, nonsensical venture that involves multiple marriages and many sets of twins. Whatever the show's shortcomings, inaccuracy is not among them.

Director Carolyne Hood keeps the audience roaring, thanks to a terrific cast that upholds the RSC's campus aesthetic. All the parts, from Desdemona to Polonius to Julius Caesar, are played by just three actors: James Enstall (the preppy one), David Cooperstein (the brainy one) and Brendan Allred (the cute one). This talented trio simultaneously brings Shakespeare down to earth and reminds us that his language lets us soar.

A Sunday show of "Compleat Works" concludes the opening-weekend performances at this season's SLS productions, including "The Winter's Tale," which opens today, and "Dangerous Liaisons," which opens in September.

By Judith Newmark, St. Louis Post-Dispatch
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The Compleat Works of Wllm Shkspr (Abridged) Masters of literary parody Adam Long, Daniel Singer and Jess Winfield struck their heftiest nugget of comic gold (so far) with this ambitious theatrical romp. In the first act, 36 of Shakespeare's 37 plays are given swift send-offs: Titus Andronicus as a cooking show, all the comedies as one play, Othello as a rap and so forth. That leaves the second act free for an in-depth and seriously deranged version of Hamlet, complete with an audience-participation performance of Ophelia's inner monologues. Director Carolyne Hood wisely uses the entire Grandel Theatre to increase hilarity, while actors Brendan Allred, James Enstall and David Cooperstein keep the comic bits flowing nonstop

By Deanna Jent, Riverfront Times
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 Henry V

"Think English history is dull? Get thee to the Grandel, where director Robin Weatherall has marshaled his troupe to victory. Henry V combines clear story-telling, finely staged comedy and compelling performances. This St. Louis Shakespeare production unfolds on a stage painted with a giant map of England and France, courtesy of scenic designer Patrick Huber. Shakespeare provides a guide to escort us to the various locations of the story, played here by the wide-eyed Elizabeth Birkenmeier, costumed (inexplicably) as a Catholic school-girl. Birkenmeier’s excitement is contagious, and Weatherall wisely overlaps entrances and actions with her narration, helping the audience understand the complicated plot.

It’s not necessary to have seen Henry IV, parts one and two, to appreciate Henry V. But if you have seen the tales of his madcap youth, it makes watching “bad boy” Hal transform into a worthy King even more satisfying. You’ll also appreciate how Henry V’s monologue lamenting the weighty responsibilities of the crown echoes a similar speech made by his father in Henry IV, part two. The show-stealing character Falstaff, so prominent in Henry IV, is never seen in Henry V — his death is reported early in the play, and by the story’s end his exploits and name are barely remembered. Henry becomes a model leader, implementing what could be called The Seven Habits of Highly Effective English Kings: 1) Lead by example, 2) Get God (or least the Archbishop’s money) on your side, 3) Atone for the sins of your father, 4) Cry for fallen comrades, 5) Honor the dead (even if they’re French), 6) Deliver inspirational speeches, 7) Know how to win the girl even if you don’t speak her language.

Andrew Michael Neiman, as the title character, anchors the show with his honest, detailed performance. His invigorating speeches to the soldiers are nicely contrasted by his heart-felt prayer to “the God of battles.” Kevin Beyer turns in two key performances, first as the Archbishop of Canterbury, slyly encouraging the King to claim the throne of France. Later, Beyer appears as stalwart Captain Fluellen, triumphing in a hilarious scene where he forces Pistol (Robert A. Mitchell) to eat a large leek. Byron Hotson is captivating as a boy serving Pistol his humorous help translating French for the English soldiers makes his death at the hands of the vain Dauphin (Dave Long) even more heart-breaking.

The two most engaging scenes in the production feature Lauren Dunagan as Princess Katherine of France. In the first, she gets a lesson in speaking English from her maid Alice (delightfully played by Marlene Velius). Even if you don’t understand any French, the scene hits comic pay dirt — as Alice mispronounces the names of various body parts, Katherine dutifully copies her mangled pronunciations. A bawdy twist at the end of the scene leaves the audience anxious to see these ladies again. When they return, it’s for the climax of the play. Henry has won the battle against the French army, but now needs to win the heart of the French Princess. Between her broken English and his halting French, communication is both tense and humorous. Neiman and Dunagan make the courtship believable and endearing; the scene builds nicely to a kiss, ending this history lesson with a spark of romance.

...it’s top notch work, bringing Shakespeare’s intriguing interpretations of these historical characters to life. It’s a fabulous opening for St. Louis Shakespeare’s 21st season."

By Deanna Jent, Riverfront Times
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"I was in town too early for the Repertory Theatre of St. Louis, whose season opens on Sept. 7 with Cat on a Hot Tin Roof. Fortunately, St. Louis Shakespeare, a classical company founded in 1984, was already up and running with an estimable Henry V. Robin Weatherall, the director, is better known as a composer (he had a 17-year run with the Royal Shakespeare Company), but you couldn't tell it from this vigorous, unmannered production, played in traditional costumes on the open stage of the Grandel Theatre, a midtown church that has been converted into an attractive performing space.

The last "Henry V" I saw was the preposterous pacifist version knocked together by Mark Wing-Davey in New York's Central Park two summers ago, so I'm pleased to report that Mr. Weatherall's staging contains only a single glaring example of directorial meddling: Shakespeare's gorgeous lines for the chorus are assigned to a pert, pigtailed modern-day schoolgirl (Elizabeth Birkenmeier), a silly trick that undercuts the effect of Andrew Michael Neiman's strong performance of the title role. Mr. Neiman plays Henry on the young side, as a king-in-the-making, and his beautifully spoken, light-textured acting was well suited to the occasion (at times he put me in mind of Errol Flynn in his swashbuckling days).

Would that St. Louis Shakespeare performed in a cheerier neighborhood than the Grandel Center Art and Entertainment District, the dingy stretch of mostly empty midtown storefronts where the Fox Theatre and the St. Louis Symphony's magnificently restored Powell Hall can also be found. It isn't a very festive place in which to see a Shakespeare play, but at least it's easily accessible from the interstate highways that ring St. Louis and it's suburbs, and if this "Henry V" is any indication, St. Louis Shakespeare is definitely worth a drive into the city."

By Terry Teachout, The Wall Street Journal

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"Story: Henry V, youthful ruler of England in the early 15th century, is conned by the Archbishop of Canterbury into waging war against France. Henry, a masterful soldier and military strategist, embarks on a campaign to invade the territories of French King Charles VI, against overwhelming odds. Disguising himself as a commoner, Henry mingles with his troops to better understand their motives and morale, then through a combination of patriotic fervor and battlefield brilliance, leads them to an improbable victory.
Highlights: As Pistol, Henry's swaggering comrade, Robert Mitchell delivers mayhem and mirth in equal measures. Lauren Dunagan and Marlene Velius are immensely appealing as the girlish Princess Katherine and her aide. Kevin Beyer offers laughs as the implacable Captain Fluellen and Elizabeth Birkenmeier is a shining Chorus in the guise of a schoolgirl who unveils the story. And, in the title role, Andrew Neiman fills Henry with the energy and simplicity of youth that prove effective in leading troops or wooing the beautiful Princess Katherine.
Other Info: Robin Weatherall directs in straightforward and diligent fashion, effectively marshalling his large cast in a nicely paced production that glides by in three rather short hours. Jennifer Carter's fine costumes and Whitney Elmore's fight choreography embellish the period pastiche."

By Mark Bretz, The Ladue News

 See last season's reviews