When Shakespeare’s Hamlet says, “… the play’s the thing wherein I’ll catch the conscience of the King,” he is telling us the play contains a truth that will affect the King and allow Hamlet to ascertain his guilt or innocence. I hear “the play’s the thing” in my head when a script lacks veracity in the storytelling. I would prefer an inadequate telling of a great story than a beautiful rendition of an incomplete one.

The Repertory Theatre’s first studio offering, Mothers and Sons by Terrence McNally, has many strengths: a lovely cast led by the indomitable Darrie Lawrence as Katharine Gerard, a mother whose son died 20 years earlier of AIDS; a gorgeous set by James Wolk; and what is meant to be an engaging exploration of the relationships between mothers and sons, unconditional love and the power of forgiveness.

Unfortunately, the play often feels pedantic and preachy, and director Michael Evan Haney doesn’t help us at the start, when we spend the first scene watching the backs of the actors as they stare out the apartment window. From the beginning, there was a disconnection, and when her son’s ex-partner, Cal, yells at Katharine, “Why are you here?!” I felt his frustration: this story feels contrived and overwritten.

Switching gears, Winter Opera Saint Louis opened its 10th season with Franz Lehar’s The Merry Widow, a play so light in substance it nearly floats away. ‘A wealthy widow in Paris teases her former flame’; yes, that’s the extent of its plot. But Winter Opera always manages to cast a strong ensemble, and this offering is no different. There is solid work by the comic leads: Holly Janz and Jack Swanson as the ambassador’s wife Valencienne and her lover; Kurtis Shoemake as the clowning Njegus. I was particularly enamored of Janz’ gorgeous mezzo and fine acting skills.

As the widow, Hanna Glawari, I found soprano Kathy Pyeatt’s voice lovely, but her acting felt one-dimensional, especially in the first act where the smile never leaves her face; merry indeed, but not much more than that. The songs are charming, though, and the humor keeps the spun sugar plot moving along. While many of the costumes were lovely, especially the traditional dress in the second act, I found the ballgowns to be a bit of a mishmash of fabric, period and style—not what I’ve come to expect from the talented JC Krajicek.

I enjoyed a student production this month as well, Macbeth at MICDS. Director Patrick Huber sets the 410-year-old story in a present-day, dystopian society and gives the witches a strong influence over the plot, even adding an opening scene where their men are butchered, igniting revenge against Macbeth. (Indeed, pivoting the story on the witches as instigators or on Macbeth’s own tragic choice is the first decision a director must make.) Kudos to Zion Thomas as Banquo.

Pictured: Holly Janz and Jack Swanson in The Merry Widow at Opera Saint Louis
Photo: Wylde Brothers Productions