The Rep’s first production of A Christmas Carol in 35 years has proven to be more than worth the wait! Audiences and critics alike are in love with the show, and it’s on pace to become The Rep’s best-selling production ever.

We’re compiling all of the local critical reactions in this space, so be sure to keep checking back as the reviews continue to roll in!

Harry Hamm, KMOX:

“This show is a real gift for all of us. Don’t miss it!”

Mark Bretz, Ladue News:

“For its golden anniversary season The Rep has mounted a sumptuous feast for the eyes and ears, filling its offering with shiny acting performances and a glittering array of technical achievements cleverly designed to brighten the holiday spirits of its patrons.”

Judith Newmark, St. Louis Post-Dispatch:

“With ‘A Christmas Carol,’ the Rep lays out the welcome mat for all of us. ‘Come on in,’ the Rep seems to be saying, a sprig of holly in one hand and a cup of cheer in the other. ‘This place belongs to you.’”

Chris Gibson, Broadway World:

“An absolute must-see for the Christmas season!”

Bob Wilcox, HEC-TV’s Two on the Aisle:

“A splendid celebration of the spirit of the season.”

Steve Allen, Stage Door St. Louis:

“... a stunning and memorable production that will guide us through this somewhat tough holiday season and hopefully give us renewed energy for the new year.”

Richard Green, Alive Magazine:

“Director Steven Woolf has rounded up some of St. Louis’s best actors for this joyful two-hour show, replete with lovely singing, magical ghosts and highly naturalistic performances.”

Tina Farmer, KDHX:

“The Rep’s production delivers the spectacle of the story in a standout revival that’s a welcome theatrical treat.”

Jim Ryan, PLAYBACK:stl:

“With this production firing on all cylinders, it made my own ‘Bah Humbug!’ attitude melt. The Rep’s level of high quality professional theatre is such a magical gift to St. Louis.”

Chuck Lavazzi, OnSTL.com:

“The Rep’s production of A Christmas Carol is a holiday treat that will entertain the whole family while delivering an important message.”

Michelle Kenyon, Snoop’s Theatre Thoughts:

“It’s at turns whimsical, frightening, compassionate, challenging, and wondrous, with a strong cast taking the audience on this journey that’s at once familiar and new at the same time.”

Erin Karll, OnStage Blog:

“The Rep’s production is a wonderful take on the classic. They remain true to the material, but not simply repeating the same Christmas show cliché.”

Like what you read? Be sure to pick up your tickets for A Christmas Carol!

For the final stretch of Mothers and Sons, Harry Bouvy sits silently on stage and listens.

His character, Cal, has just engaged in more than an hour of testy conversation with Katharine, an unexpected visitor in his Manhattan apartment. They’re two people united by buried grief: Andre, Cal’s former partner and Katharine’s son, died 20 years ago from AIDS. Katharine has reappeared in Cal’s life without warning, bringing with her an icy front of barely concealed disdain. She never approved of Andre’s sexuality or the man with whom he shared the final years of his life.

They’ve talked and talked, through exchanges both poignant and quarrelsome, as they try to reconcile conflicting memories of the man they both loved. But now it’s time for Cal (and Bouvy) to sit and listen as Katharine breaks down and reveals the profound loneliness that lies at the core of her resentments.

Bouvy teaches acting for stage and screen in New York City, and he’s often stressed the importance of listening to his students. Regardless of the medium, listening places the actor squarely in the moment and connects them with their fellow performers. Listening, Bouvy says, is also one of the chief virtues that Terrence McNally’s Mothers and Sons offers to its audiences.

“It’s this idea that if people talk and people listen, people can walk over these bridges and really meet each other on their opposing sides,” Bouvy says.

This play is deeply personal for him. In 2009, Bouvy lost his partner of 14 years to AIDS. Like Cal, Bouvy later married following the legalization of gay marriage.

“There’s this line where Cal says, ‘The first time I tried to use the word ‘husband,’ nothing came out,’” Bouvy says. “And that’s very true for me. I’m thrilled every time I get to introduce my husband Sean as my husband. But it’s not without its bumps. Whether straight people realize it or not, when I introduce my husband, I am coming out. Every day, I’m sort of forced to come out by choosing whether or not to say, ‘this is my husband.’”

But more than just the parallels between the script and his life story, Bouvy knows many people who lived through the height of the AIDS epidemic. While he sees Mothers and Sons as primarily a play about family, preserving the painful history of the disease and its continued presence is elemental to the piece.

As Cal’s partner Will says in the play: “Young men are still falling in love… and some of them are still dying.”

“People tend to think we’re kind of safe from (AIDS) now, that it’s over,” Bouvy says. “My story is that it’s not. Just seven years ago I had a partner die. Trust me, it’s still alive and well.”

That being said, the play isn’t just a dour memorial or an ideological think-piece. There’s a radiant element of optimism in the script in the form of Bud, Cal and Will’s 7-year-old son. Bouvy says he’s inspired both by Bud’s character as well as Simon Desilets, the young actor who plays him.

“Without Bud in the play, I think the play would be very different,” Bouvy says. “I don’t think the play could really hold up without Bud. Because Bud’s the generation to whom none of this matters. None of this idea of two men raising a child makes a difference.”

During a recent post-show discussion, audience members asked Simon how he felt about doing a play like Mothers and Sons, which features a pair of gay men.

“You could see his wheels churning trying to come up with an answer,” Bouvy recalls “He was confused by the question.”

After a few moments, Simon answered.

“Well, I was telling some friends of mine, and one of them asked me what the play was about,” Simon said. “And I told her, ‘Well I play a boy who has two gay men as fathers.’”

“So what did she say?” Bouvy asked.

“She said, ‘That sounds like a really fun play,’” Simon replied.

Bouvy shakes his head in marvel while recalling the exchange.

“It wasn’t controversial to him or his friend that was asking about it,” Bouvy says “That was just the plot of the play.”

There’s hope out there, if we just stop to listen.

The Rep’s world premiere of Until the Flood has sparked conversations among theatre goers and critics alike.

We’re compiling all of the local critical reactions in this space, so be sure to keep checking back as the reviews continue to roll in!

Mark Bretz, Ladue News:

“(Dael) Orlandersmith’s drama is a riveting, thought-provoking production ... certain to generate conversations.”

Lynn Venhaus, Belleville News-Democrat:

“This high-voltage piece is an example of what art can do — reflect a time and affect change. It may make us squirm and tear up. But it can’t not affect us.”

Judith Newmark, St. Louis Post-Dispatch:

“Subtly directed by Neel Keller, Orlandersmith delivers a fast-paced, wide-ranging series of character sketches. These characters — all composites, drawn from people Orlandersmith spoke with here as well as from her own imagination — consider Michael Brown’s death from their own points of view.”

Chris Gibson, Broadway World:

“The Repertory Theatre of St. Louis’ dazzling production of UNTIL THE FLOOD is a short (around 70 minutes), but mesmerizing piece of theatre that I consider required viewing.”

Steve Allen, Stage Door St. Louis:

“‘Until The Flood’ is a heart breaking but hopeful story that should be seen by just so many people- you should be one of them.”

Richard Green, Talkin’ Broadway:

“The results are moving in unexpected ways: friendships are broken by the aftermath of the shooting; some of Ms. Orlandersmith’s characters manage to find their courage as a result; and stereotypes are smashed left and right.”

Tina Farmer, KDHX:

“Until the Flood captures your attention and prods you with challenging questions delivered in the off-the-cuff style of conversation.”

Megan Washausen, PLAYBACK:stl:

“I’m not reviewing this show so much as I’m telling you to go and see it—now! If you take nothing else away from this write-up, take that!”

Ann Pollack, St. Louis Eats and Drinks:

“Worthwhile, and more challenging than it appears at first.”

Michelle Kenyon, Snoop’s Theatre Thoughts:

“Here, at the Rep, what we’ve been shown is something of a conversation starter, or more of a conversation enabler since there’s no real way to avoid these important issues, and they need to be addressed.”

Like what you read? Be sure to pick up your tickets for Until the Flood!

Eight characters. Eight voices. One city.

Pulitzer Prize finalist Dael Orlandersmith interviewed real St. Louisans about the past two years of social unrest in our city. Their thoughts formed the basis for the eight characters of Until the Flood, who all have something to say about the past, present and future of St. Louis.

Get a look at their thoughts in this trailer for the show, in production now on The Rep’s Mainstage:

Until the Flood continues its run through November 6. Get your tickets here.

The Rep’s 50th Season opener Follies has blown away critics with its ambitious scope and knockout delivery.

We’re compiling all of the local critical reactions in this space, so be sure to keep checking back as the reviews continue to roll in!

Harry Hamm, KMOX:

“★★★★★ ... arguably the very best musical The Rep has ever presented. ... If there ever was a show you do not want to miss, ‘Follies’ is it.”

Mark Bretz, Ladue News:

“★★★★★. Follies is a theatrical spectacle, immense in its scope and intimidating for any troupe attempting its execution. Goals are made to be pursued, though, and (Steven) Woolf and The Rep have realized theirs with a sumptuous, stunning and spectacular presentation of Stephen Sondheim’s multiple, Tony Award-winning masterpiece, a paean to the world of stage performance and illusion.”

Gerry Kowarsky, HEC-TV’s Two on the Aisle:

“As high as I raised my expectations, they were exceeded on opening night.”

Judith Newmark, St. Louis Post-Dispatch:

“Director Rob Ruggiero delivers a lucid, tender production of this extremely complicated story about a reunion of showgirls. ... You feel a little sympathy for them, and, by the end maybe a little optimism as well. For a show so focused on artificiality — on the timeworn conceits of the stage — that’s a stunning revelation.”

Paul Friswold, Riverfront Times:

“There is nothing that can adequately prepare you for the wonders of it. Warm up your hands and prepare to be lifted out of your seat — there are standing ovations in your near future.”

Chris Gibson, Broadway World:

“FOLLIES gets a brilliantly conceived staging by The Repertory Theatre of St. Louis, and it’s a masterpiece you will not want to miss.”

Steve Allen, Stage Door St. Louis:

“I can’t say enough how every aspect of this production has come together for one of the most impressive and stunning performances we’ve seen in St. Louis. The audience on opening night shouted and applauded throughout the evening and then leapt to their feet before the curtain call could even commence. This was a remarkable evening of theatre.”

Richard Green, Alive Magazine:

“This new production is perfectly marvelous, with outstanding performances all around.”

Tina Farmer, KDHX:

“Visually and musically stunning.”

Jim Ryan, PLAYBACK:stl:

“This production of Follies is not only recommended, it is compulsory for any patron of the theatre. Shows of this magnitude do not happen by accident and you would be remiss in not grabbing your tickets now. I may be fighting you in line for a repeat ticket; I must see this production again before the final curtain falls.”

Ann Pollack, St. Louis Eats and Drinks:

“Let’s cut to the chase here. The Rep has hit another one out of the park with Follies. ... It’s a splendid evening. The show feels beautifully, glowingly new. This is the kickoff to a new season of theater in town and it sets a very high mark.”

Michelle Kenyon, Snoop’s Theatre Thoughts:

“I had been looking forward to this production, being a Sondheim fan and having seen the excellent 2011 revival on Broadway. At the Rep, the show is just as spectacular as anything on Broadway.”

Like what you read? Be sure to pick up your tickets for Follies!

Leading up to our season premiere of Stephen Sondheim’s Follies on September 9, we’re talking to members of our all-star cast about the show’s legendary songs and what they mean to them and their characters. Yesterday, we checked in with Christiane Noll about her character Sally and the song “Losing My Mind.”

Up next, we talked to Bradley Dean, the man who plays Sally’s long-ago love interest Ben. Like the other main characters in the show, Ben has a signature number in act two that digs into the flaws and insecurities of his character. The deceptive “Live, Laugh, Love” begins by shrouding Ben’s demons with vaudevillian glitz. But as it continues, more and more cracks in the facade begin to show.

Here are Dean’s thoughts on this complex number:

How would you describe the song — its style, the emotion behind it?

“Live, Laugh, Love” is a pastiche song in the spirit of Cole Porter or maybe the golden age of Hollywood. A top hat and cane, laissez faire, song and dance that becomes much more than that as it disintegrates.

What does this song represent for your character?

Ben wears this song like a mask. Trying to mean it, desperate to gather up the pieces of a rapidly crumbling life and paste them together in a Ben-like shape so that he might walk out of this party and back to his functional if unsatisfying life in one functional if unsatisfied piece. Ultimately, the glaring truth of the folly of his life is too blazingly bright to ignore and the simmering pot boils over and all is flooded.

What are some of the challenges of performing it?

Well, thus far we haven’t put the song on its feet so I’m not sure but (spoiler alert) Sondheim talks about the Pirandello quality of this moment, the blurring of the line between actor and character. That is, is Ben forgetting where he is in the song as it devolves or is Bradley the actor not remembering a line? I find that idea incredibly enticing, and I am looking forward to the challenge, but I also sense it will be a very delicate truth to capture.

—-

Be sure to secure your tickets to Follies here!

The dire warning signs hang all over The Rep’s Costume Shop:

“Property of Bob Trump… DO NOT USE!”

“Hands off Bob’s thread!”

One sign features a photo of Bob himself: a lean, whiskered figure in an American flag bandana and biker leathers, glowering at the camera with a pair of razor sharp scissors held suggestively in his right hand.

Judging solely by the signs and the desperado-style photo, it would be easy to mistake this Bob Trump character for a surly vigilante who cuts costumes by day and cuts people off the road on his motorcycle by night.

The actual man himself, however, is something far more magnificent: a nationally sought-after costumer, published author, a wizard of thread and cloth… and a gentle and humble soul. Bob is beginning his 36th season working in The Rep’s costume shop. Over that time, he’s had a hand in crafting nearly every outfit worn on Rep stages — especially menswear, his forte.

We sat down with Bob to ask him five questions about his role as The Rep’s head draper, his unusual career path and favorite memories.

1. How did you land at The Rep?

Well I grew up just down the street, five blocks from here on Oakwood (Avenue). I actually worked the Opera Theatre season right before Rep season (in 1981). The technical director came into the shop one day and said that one of the first hands had cancelled on their contract the day before work.

So I just called up and said, “You wouldn’t happen to have any openings would you?” “Funny you should call…”

2. Where did your passion for working with clothes come from?

I really liked period clothes growing up. I was always attracted to them.

But when I grew up, I was raised to be an engineer by my family. I studied chemical engineering in college during the oil crisis in the ‘70s. I was supposed to design petroleum refineries. And I just thought, I can’t see myself doing this the rest of my life. I had gotten a job offer from Monsanto to go to the Middle East and design a refinery when I graduated. And I thought, “Oh my gosh, that means I would actually have to do this.”

So I dropped out and I wanted to do something with clothing, (but) I really didn’t know what one did. So I thought I’d do museum work because that could be period clothing. So I got a job at the Historical Society as the assistant to the curator and discovered that was really, really boring to me. Because just putting clothes in drawers and looking at them was not the same thing as making them.

Then I went to Wash U to study fashion design. I was working in the theatre overtime to get arts credits, and discovered that my engineering background was really handy for patterning. I’ve also done alterations at a menswear store, been a costumer for marionettes, all sorts of things.

3. What’s your favorite part of working in The Rep Costume Shop?

To me, the best part is that fact that we have a different designer for every show. It’s not like a factory where you’re just getting in stuff and then doing it. You actually have a different person you’re working with, a different concept you’re working with and different people — the actors are always changing.

4. What does it take to excel in a costume shop like the one at The Rep?

Each person has to have their own skills that work with what we need to do. My particular field is menswear. Since very few people are even interested in doing the men’s clothes, that’s very handy. So I do a lot of men’s suits and period men’s clothes as well as modern-ish men’s clothes. I also do a lot of embroidery and that kind of decorative work.

Each person has to be able to do their own thing. But the division between parts of the shop can be amorphous, so being able to switch back and forth is also handy.

5. Do you have any favorite Rep shows that you’ve worked on?

That’s a tough one, because it seems like every show we work on has something about it that’s interesting or crazy or just unusual, because they’re all different and there’s always something. And I’ve been here long enough that you go through periods where there’s different crazinesses that go on.

Molly’s Hammer has made its world premiere in The Rep Studio, and local critics are loving this stranger-than-fiction story of protest and passion.

We’re compiling all of the local critical reactions in this space, so be sure to keep checking back as the reviews continue to roll in!

Paul Friswold, Riverfront Times:

“The very best theater is a transformative experience that shakes you to your core and makes you feel something and think about the world a different way. Nancy Bell’s great gift is the ability to capture your heart and take you with her in the footsteps of Molly Rush.”

Chuck Lavazzi, Stage Left St. Louis:

“This a first-rate production of a play which, if it punts the ultimate question of whether or not its heroine’s sacrifice was really all that great or all that effective, nevertheless deserves to be seen and debated.”

Jim Ryan, PLAYBACK:stl:

“From start to finish, this production of Molly’s Hammer had me hooked. The story is fascinating, the characters are real, and the overall production was one I won’t forget for a very long time.”

Mark Bretz, Ladue News:

“★★★★.  (Nancy) Bell’s performance is richly textured as she reveals Molly’s deep reservoir of hope and commitment that the homemaker sees as complementing her love for her family rather than combating it.”

Judith Newmark, St. Louis Post-Dispatch:

“A thoughtful production — well-directed, well-acted and well-designed.”

Lynn Venhaus, Belleville News-Democrat:

“Among our most gifted actresses, (Nancy) Bell excels in transforming herself organically to create an indelible, relatable character.”

Harry Hamm, KMOX:

“Nancy Bell is very appealing as Molly, making her remarkably authentic and the kind of person that is eminently likeable, whether you agree with her or not.”

Richard Green, Alive Magazine:

“A quiet success, unleashing warmth and light and energy from an alternate Hollywood universe, and speaking of the darkest inhuman possibilities in the idealistic language of film romance.”

Donald C. Miller, Alton Telegraph:

“Director Seth Gordon keeps things moving briskly in the one-act production, and the script by Tammy Gordon, based on the book ‘Hammer of Justice,’ is smart and thoughtful. ‘Molly’s Hammer’ is a story that deserves your time and attention.”

Steve Allen, Stage Door St. Louis:

“Director Seth Gordon tells a dynamic story in the simplest of terms. It resonates with today’s audience because of how close we may be again to a dangerous time in history where the world could easily become endangered by the worst enemy of all - man.”

Ann Pollack, St. Louis Eats and Drinks:

“There’s another story here. It’s about how marriage works, how differences are found and argued over and bargained about and maybe resolved, how adjustment can occur and how belief in the other person can sustain. I left thinking more about that thread than the one about civil disobedience.”

Like what you read? Be sure to pick up your tickets for Molly’s Hammer!

After opening to excellent reviews, the Pulitzer Prize-winning Disgraced has since built a tremendous buzz and sparked profound and necessary conversations among our audience members.

In addition to those great lobby conversations, we hosted our own panel on Islam in America last month featuring Disgraced playwright Ayad Akhtar and local Muslim leaders Dr. Ghazala Hayat of the Islamic Foundation of Greater St. Louis and Faizan Syed of CAIR-St. Louis.

The three talked about their personal and communal experiences following 9/11, as well as how Disgraced represents Islam as a play. Thanks to our partners at Howl Round TV, you can watch the entire panel below. (Please note: audio kicks in 5 minutes into the video).

We’ve also seen some great coverage from the local media:

- The St. Louis Post-Dispatch posted several excellent columns on the show that are well worth reading:

• Judith Newmark interviewed Akhtar about the show and its lack of easy answers.
• Dr. Hayat wrote about its depiction of faith and self-loathing.
• Columnist Aisha Sultan compared reading the show to seeing it live, while Newmark penned her own essay about the depiction of Jewish people on stage.

- Newmark also went on FOX 2‘s “Arts Pop” segment to discuss the show.

- St. Louis Public Radio interviewed Akhtar about the play and how its 2013 Pulitzer Prize win affected his career.

- Ladue News published a Q&A with director Seth Gordon about the show and what audiences can expect from it.

One week of performances remain for Disgraced. Get your tickets here!

Disgraced arrived at The Rep with an impeccable pedigree: a Pulitzer Prize winner, Broadway hit and the most-performed show in American theatre this season. Based on the enraptured response of audiences and now critics, The Rep’s production of Ayad Akhtar’s masterful play has done the script proud.

We’re compiling all of the local critical reactions in this space, so be sure to keep checking back as the reviews continue to roll in!

Harry Hamm, KMOX:

“★★★★★. This Pulitzer Prize winning play will shake your sensibilities to their core. ... The performers in ‘Disgraced’ are magnificent. Seth Gordon’s direction realizes everything that is important and vital about this production. There are moments of cutting humor in ‘Disgraced.’ There are also so many varied, powerful personal elements swirling around in this explosive story that it is bound to strike a responsive chord with everyone.”

Judith Newmark, St. Louis Post-Dispatch:

“‘Disgraced’ combines the unnerving honesty of Albee or Pinter with the raw ugliness of an unfiltered Internet screed. No matter what your views are — on Muslims or Jews, on U.S. policy or the nature of loyalty — you are almost certain to hear something to make you wince. But thanks to Akhtar’s pungent script and Seth Gordon’s sophisticated direction, you’re going to hear it all, including things that you are unlikely to hear in any other setting, no matter who you are.”

Lynn Venhaus, Belleville News-Democrat:

“A dinner party ignites a powderkeg of simmering race and religion issues in the industrial-strength intense ‘Disgraced,’ a truly remarkable evening of theater. Ayad Akhtar’s Pulitzer Prize-winning contemporary play is a carefully calibrated drama that slowly builds to gasp-out-loud twists and turns, which had a totally invested audience on the edge of their seats opening night.”

Robert A. Cohn, St. Louis Jewish Light:

“... An intense, powerful work that is equal parts emotional, thought-provoking and engrossing. ... Don’t miss this riveting and splendidly produced play by a major young playwright in American theater.”

Bob Wilcox, HEC-TV’s Two on the Aisle:

“So well does [Akhtar] structure his drama and construct his dialogue, and so tight is the pace in director Seth Gordon’s production at The Rep, that the play and its characters held me, even as I was aware that I was being taken over ground I was already familiar with. Theatre makes it real in a way that discussions and debates never can.”

Donald C. Miller, Alton Telegraph:

“This play couldn’t be more timely. It raises questions about race, gender, religion, group and self-identity, and forces everyone to confront their own biases. The play offers no easy answers or pat solutions but does demand attention and conversation.”

Tina Farmer, KDHX:

“John Pasha is powerful and mesmerizing as Amir, his virility and charisma nearly bursting out of his suit.”

Mark Bretz, Ladue News:

“Seth Gordon… masterfully guides the St. Louis premiere of this sobering cautionary tale that is taken from today’s headlines and yet has a timeless, universal message about the fragility of character, reputation and life itself.”

Steve Allen, Stage Door St. Louis:

“‘Disgraced’ will not be an easy play for many to see. It brings up the current tenor in so many conversations and feelings in the world today and the depiction of savage outbursts through both dialogue and action may leave you weak-kneed. But this is important theatre at the highest level. You will not want to miss it if you are a fan of realistic drama with superb direction and outstanding performances.”

Chuck Lavazzi, ONSTL.com:

“The Rep’s production is flawless, with precise direction by Seth Gordon and outstanding performances by a fine ensemble cast, headed by John Pasha as Amir.”

Ann Pollack, St. Louis Eats and Drinks:

“This is a play to shake up an audience, and it does that very well - just what art is intended to do.”

Like what you read? Be sure to pick up your tickets for Disgraced!

Here is the talented group bringing Disgraced to The Rep stage:

John Pasha
as Amir

Rep fans may remember him from: Private Lives, 2002

About: John’s recent New York credits include A Wilder Christmas (Peccadillo Theater Company), The Constant Couple (The Pearl Theater Company) and Horatio (FringeNYC). Television and film work includes New York soap operas, Sound, Heartless, The Order and Pop Rocks.

Leigh Williams
as Emily

Rep fans may remember her from: A Kid Like Jake (2014)

About: Leigh has been involved in the New York independent theatre scene for over 15 years.  She has also worked regionally at Cleveland Play House, Riverside Theatre Shakespeare Festival and The Cider Mill Playhouse. Leigh is a graduate of the Case Western Reserve University/Cleveland Play House MFA Acting Program.

Jonathan C. Kaplan
as Isaac

(Rep Debut)

About: Jonathan’s Broadway credits include Falsettos (Tony nomination, Theatre World Award) and The Diary of Anne Frank. Off-Broadway credits include Forever Dusty, Rags and The Loman Family Picnic. He has appeared in the national tour of The Graduate. Film work includes Learning to Drive, What Just Happened? and Life with Mikey. Television credits include The Blacklist, Elementary, The Good Wife, Law & Order: SVU and Babylon 5. 

Rachel Christopher
as Jory

(Rep Debut)

About: Rachel’s regional and New York credits include The Heidi Chronicles (Susan Johnston), Yellowman (Alma) and Crime and Punishment (Sonia) at Trinity Repertory Company. Rachel is a graduate of the Brown University/Trinity Rep MFA Acting Program and holds a BA in Drama and Classics from Vassar College.

Fahim Hamid
as Abe

(Rep Debut)

About: Off-Broadway credits include phoenicia flowers (Noor Theatre/New York Theatre Workshop), Hot Fun in the Wintertime (Cherry Lane Theatre), Good (Tribeca Performing Arts Center) and Between the Tigris and the Euphrates (Poetic Theatre Productions). Regional credits include The Kite Runner (New Repertory Theatre). He has appeared on television in Tyrant (FX) and The Family (ABC, upcoming).

The new American musical Georama burst onto the scene last month with its world premiere in The Rep Studio! Featuring the story of all-but-forgotten American painter John Banvard, it’s a rollicking journey down the Mississippi River filled with catchy, all-original numbers.

Discover the stories behind this delightful show’s creation with articles and interviews published in the local media.

• The St. Louis Post-Dispatch talked to set designer Scott C. Neale about the creation of Georama‘s epic, 600-foot-long backdrop.


• Late-night comedy program STL Up Late brought in Georama composers Matt Schatz and Jack Herrick to talk about the show and perform two of their songs. Their segment starts at 17:55 below:

• The Belleville News-Democrat chatted with director West Hyler and Neale about bringing the show’s settings to life.


• St. Louis Magazine talked to Hyler and Schatz about creating the show.


• Eleven Magazine previewed the show after sitting in on rehearsal.

The run continues through February 7! Buy your tickets here.

The world premiere of Georama has critics enraptured. The show premiered in The Rep Studio last week and continues its run through February 7.

We’re compiling all of the local critical reactions in this space, so be sure to keep checking back as the reviews continue to roll in!

Mark Bretz, Ladue News:

“★★★★★. Georama is handsomely crafted and filled with more than a few surprising elements, an enchanting musical journey into a fascinating and little-known chapter of American history.”

Paul Friswold, Riverfront Times:

“The creative team of West Hyler, Matt Schatz and Jack Herrick has written a musical about an uncommon man for the common man, and it is spectacular. Under Hyler’s direction, the world premiere of Georama is a funny, insightful and ultimately inspiring musical about why art matters. Even if you’re fool enough to think it doesn’t, Georama will win you over.”

Chris Gibson, Broadway World:

“I cannot recommend it highly enough! It’s truly a show that deserves an audience both young and old to appreciate, or become aware of, something that was truly as magical as the spectacle this artist created.”

Harry Hamm, KMOX:

“The cast is one of the most talented the Rep has ever used. Their vocal abilities are spirited and assertive.”

Lynn Venhaus, Belleville News-Democrat:

“‘Georama’ reflects a bygone era with a strong sense of place and time, creating a work that honors our rich river culture and the never-ending quest to make something that matters during our lifetime.​”

Gerry Kowarsky, HEC-TV’s Two on the Aisle:

“Delightful. ... The action proceeds at a snappy pace under the direction of West Hyler.”

Judith Newmark, St. Louis Post-Dispatch:

“The show’s signal triumph is its set, designed by Scott C. Neale. The action takes place in front of a frame, like the frame around an old-time stage. Within the frame, a series of painted images roll past us, depicting the Mississippi River Valley and other places in Banvard’s life. A triumph of design and engineering, Neale’s set turns into the kind of show that thrilled Banvard’s audience.”

Steve Allen, Stage Door St. Louis:

“This is simply an incredible piece for the Repertory Theatre Studio Theatre. How they accomplished this magnificent history lesson, filled with music and the spectacular georama is beyond belief.”

Richard T. Green, Talkin’ Broadway:

“The good news is, there’s a world-premiere musical just opened, and it’s purely delightful: witty, well-constructed and colorful. The bad news is, you may not get a chance to see it again, once this production closes.”

Chuck Lavazzi, KDHX:

“The [show’s] message about the hard choices creative folk have to make between commerce and artistic purity is as relevant today as it was over a century ago”

Megan Washausen, PLAYBACK:stl:

“Georama is a gem. The Rep’s small studio theatre offers an intimate experience, which enhances the emotions of this production in a powerful way.”

Ann Pollack, St. Louis Eats and Drinks:

“It’s exciting to see a new play as well crafted and staged as ‘Georama’ is. We won’t have heard the last of it, I’m sure. Grab your chance to say you knew it when it was young.”

Michelle Kenyon, Snoop’s Theatre Thoughts:

“Georama takes its audience on a tour of the Mississippi River and 19th Century America and beyond with heart, energy, a tuneful score, and a great cast. And that painting is a wonder in itself.”

Like what you read? Be sure to pick up your tickets for Georama!

Michael Banvard has discovered the unique pleasure of watching his family history reenacted live on stage.

On Tuesday, Michael got to take in the final dress rehearsal for Georama, a world premiere musical at The Rep that just happens to be all about his great-great-great-great-great-grandfather — painter John Banvard.

“It was a lot of fun and quite enjoyable of course,” Michael said of the musical, which continues through February 7 in The Rep Studio. “Every time the name ‘Banvard’ was mentioned I couldn’t help but smirk. That’s my blood they’re talking about!”

For most people, the name “Banvard” wouldn’t ring much of a bell. But Georama aims to remedy that, spinning the life of John Banvard into an adventure that is half tall tale, half historical fact.

In the mid-1800s, Banvard created a true artistic masterwork — a three-mile-long scrolling painting of the Mississippi River that he later dubbed a “georama.” He became America’s first millionaire artist, inspired an epic poem by Henry Wadsworth Longfellow and entertained Queen Victoria himself. But his name is mostly forgotten. As Georama‘s opening number reminds us, “He’s the most famous man that you’ve never heard of.”

Even Michael Banvard didn’t know much about his famous lineage until he was in high school. When Michael’s grandfather retired, he began heavily researching the family’s lineage, fleshing out their connection to John Banvard and numerous other clans from England.

In fact, Michael’s main conception of John Banvard came from the same source that Georama co-writer and director West Hyler used most heavily: the book Banvard’s Folly. Released in 2001, it profiles Banvard’s rise to fame and subsequent fall from the limelight — along with a dozen other forgotten historical figures who “failed to change the world.”

But in a fine stroke of coincidence, Michael happens to be living in St. Louis at just the right moment to witness the musical adaptation of John Banvard’s life story. Michael says the play “fleshed out” what he already knew about Banvard. This was actually his second time catching Georama — he saw a reading of an earlier draft of the script as part of The Rep’s Ignite! Festival of New Plays in 2014.

On that occasion, he brought his collection of Banvard geneology and memorabilia to show off to Hyler and show composer Matt Schatz. But on Tuesday, Michael was content to see the show in its polished, final form.

While Michael has plenty of artists in his extended family tree, he admits that he never really inherited his ancestor’s knack for painting.

“I sketch well,” Michael says. “Well, I draw a good doodle, really. The margins of my high school notebook are filled with them.”