Review: ELEVENTH HOUR RADIO Prompts Conservation Conversation

The new musical Eleventh Hour Radio, produced by Action Arts Collaborative, is a peppy piece of conservation theater prompting conversation about protecting the environment. Composed and written by Ryan Marquez and Colin McLaughlin, and directed by Kathryn Bentley, Eleventh Hour Radio asks the question “what would you say if you had a microphone and the world could hear you?”

Marquez has penned a memorable score in his first effort as a musical theater composer. It is a catchy collection of rap, soul, funk, pop, jazz, reggae, and R & B music that propels the plot discussion about sustainability of the earth’s natural resources.

Following the curtain call audience members could be heard singing the snappy hook from the finale. I found myself waking to the car repeating the earworm-worthy lyric, “Taking over total control, Eleventh hour radio.”  

The mostly upbeat music with varied styles gave choreographer Gloria Mwez a lot to work with. Her contemporary dance paid homage to the music genres in Marquez’s vivacious score. The talented cast can move, especially Kevin Corpuz, and they look liked they were having fun executing Mwez’s high energy modern hip hop, jazz, and vintage soul/R&B dance moves.

Corpuz plays The Host, a pirate radio activist who takes over the airways for the late-night campaign promoting climate change. In addition to his versatility in contemporary dance, Corpuz delights performing Marquez’s 1970’s inspired love ditty “Carbon Neutral Baby” to Mother Earth. He and the cast charm with a funky Philadelphia Soul promise to change their carbon footprint that is reminiscent of The Spinners and the O’Jays.

His radio show special guest is Sugar, played by St. Louis acting chanteuse Anita Jackson. She is the stable voice of reason constantly asking the activists, “what is your relationship with the natural world?” Jackson recommends that The Host ask for small commitments from the radio listeners to make it more likely that many would act.

Jackson is a gifted singer who captivates an audience with her richly textured vocals. She doubles as the production's vocal director. To her credit, this cast is well prepared musically. Their vocals are tight with precise blending, diction, and vocal control.

The balanced outstanding sound quality was accomplished by the expert skills of audio engineer Angel Pini and audio technician Che Sanchez. Equalizing the sound between actors' microphones and an onstage rock band is difficult in small black box theaters. Pini and Sanchez’s work sounded consistent and was properly mixed. Their concert like sound supported the ensemble, allowing the audience to hear every line and lyric with clarity.

Emily Johnson (Chris/The Algorithm), Josh Mayfield (Rex/The Monopoly Man), and Olivia Neal (Terra/Mother Earth) had juicy solos, written in distinctive styles, that amused, entertained, and pleased.

Johnson tempted the cast with a social media dopamine high singing “Feed the Flame” as an Instagram or TikTok algorithm. Her playfully satiric song distracted the cast from their efforts to broadcast by promising them a boost of pleasure, validation, and approval. Not only was it funny and choreographed brilliantly, but it was McLaughlin and Marquez’s condemnation of social media’s ability to addict and divert attention.

Mayfield delivered a toe-tapping country music inspired nod to corporate greed and the “Bottom Line” dressed as the Monopoly Man. He is the owner of a resonant vocal instrument with outstanding pitch and timbre. This is the second show this year where Mayfield has impressed with powerhouse vocals.

Neal wooed the audience with Marquez’s penultimate number “Come Home,” a reassuring soulful ballad about Mother Earth’s resilience. Her convincing vocal stylings guaranteed that earth’s sustainable power will survive to support the population. Neal’s beautiful soprano enveloped the audience while inspiring environmental activism to protect the planet’s ecosystem.

Shevarè Perry’s costumes had a groovy 1960’s - 1970’s west village bohemian vibe. The styling was exactly what you would expect from an alternative militant group who illegally hijacks global airwaves.

Director Kathryn Bentley has built an infectious production of Colin McLaughlin and Ryan Marquez’s new groove heavy musical. She inspired and evoked vibrant performances from a high-octane cast who enthrall the audience with lively storytelling. Bentley delivers Eleventh Hour Radio’s ‘save the world’ message by entertaining instead of preachy bludgeoning. Eleventh Hour Radio is a head nodding, toe-tapping, irresistible bop. It is simply a fun time.

Action Arts Collaborative’s Eleventh Hour Radio continues in the studio theater at Metro Theatre Company through April 26, 2026. Visit actionartstl.org for more information.

PHOTO CREDIT: Jennifer A. Lin