www.Intermission mag.com
Stages St. Louis Through June 28, 2009 As a fan of cheap horror and science fiction films, I've always enjoyed the work of director Roger Corman. A cult favorite, The Little Shop of Horrors, was supposedly shot in four days, and it bristles with a sense of cheap fun. Howard Ashman (book and lyrics) and Alan Menken (music) took the basic premise and crafted a clever and funny off-Broadway musical which, in turn, spawned a rather lackluster movie version and a host of mediocre productions across the country. Stages St. Louis breaks this trend by opening their 2009 season with a superbly crafted and cast version of this hilariously creepy musical. Some changes have occurred to Charles Griffith's original screenplay, but a lot of the key elements remain in place. Seymour Krelborn is a poor orphan living on skid row, and earning a meager existence working at Mushnik's florist. He stumbles upon a mysterious plant he dubs Audrey II, that may be his ticket to stardom. The discovery that it requires blood to survive leads Seymour to prick his own fingers to make it thrive. It's sudden growth and unusual foliage gains it placement in the store's window, and the influx of gawking customers becomes both a blessing and a curse. As the plant continues to grow, so does it's appetite, and with no more fingers to stick, where will Seymour turn to satisfy its needs? Ben Nordstrom is the perfect choice to play Seymour, with his plaintive voice and affable personality bringing this “wanna be” botanist to life. Seymour just wants to have some measure of success in life, and impress the girl of his dreams along the way. Nordstrom adeptly conveys his anxiety over the decisions he's presented with as his fame grows and representatives from the entertainment world converge on skid row. Maria Couch is equal to the task as Audrey, the battered and squeaky-voiced object of Seymour's desire. Couch is simply terrific, and her vocal performance on “Somewhere That's Green,” as she pines for cookie-cutter tract house, is amusing and touching. The pair play off one another well, and their duets on “Call Back in the Morning” and “Suddenly Seymour” are very nicely executed. Darin De Paul is the huffing and puffing Mushnik, who takes Seymour in when no one else will. De Paul delivers strong comic support, and does a fine job with “Mushnik and Son” as he makes the decision to formally adopt Seymour. As a sort of Greek chorus that mimics the very Phil Spector produced girl groups they're each named for, Valisia Lekae (Chiffon), Rashidra Scott (Crystal), and Lisa Ramey (Ronnette) provide a wonderfully soulful sound, complete with sparkling doo-wop harmonies. Todd Dubail impresses as nearly every other character, including the sadistic dentist that Audrey is dating. Dubail brings raw energy, and a certain degree of twisted menace to his main role. Marc Petrosino does exceptional work manipulating the overgrown Audrey II, while Geno Seegers conjures up the creature's deep bass vocalizations, including the R&B influenced “Feed Me (Git It)” and “Suppertime.” Monte Howell and Shaun Seley ably assist as fellow puppeteers. Michael Hamilton's excellent direction keeps the pace moving and the action and actors completely in focus. Stephen Bourneuf's choreography is a splendid and spirited complement. Richard Ellis has put together a charmingly seedy scenic design with washed out and muted colors to suggest the skid row location. John Inchiostro's costumes are delightful tacky. Matthew McCarthy's lighting scheme effectively enhances the atmosphere, with a sign bearing the title changing colors with every mood swing. Lisa Campbell Albert's musical direction and Stuart Elmore's orchestral design work in tandem to deliver a clearly defined and articulated musical experience. I only wish the sound had been cranked up higher so that the beat really kicked. Continuing their tradition of quality entertainment, Stages St. Louis's production of Little Shop of Horrors is a blast; a campy and tune-filled flashback to the early 60's. Call 314-821-2407 for ticket information. 
Little Shop of Horrors
Reviewed by Chris Gibson
This production plays through June 28, 2009 at the Robert G. Reim auditorium in Kirkwood, MO. 
The Trial
Stray Dog Theatre
Through May 9, 2009
Reviewed by Chris Gibson
As a vision of dystopia, Franz Kafka’s The Trial, is a chilling masterwork, capturing the oppressive bureaucracy of a society that has become so convoluted that it no longer makes sense. And, if you’re prone toward cynicism, then some aspects of this existential cautionary tale may resonate with you. A tragic farce of sorts, The Trial certainly isn’t light entertainment, but it’s intriguing and thought-provoking nonetheless. Stray Dog Theatre presents this dark and unsettling vision in a production buoyed by the work of a talented ensemble.
Joseph K, a mild mannered sort who works at a bank, finds himself arrested on his 40th birthday. But, he's not told what crime he's guilty of, and though he's expected to comply with any requests for interrogations that are made; he's left to live his life as if nothing has happened. His attempts to clear his name only leave him more confused and frustrated.
Will Ledbetter gives a compelling performance as Joseph K. His mounting anger at the sheer absurdity of the situation is best displayed during the initial interrogation; in a scene that plays out like a game show, complete with canned audience reaction. As the central figure here, Ledbetter carries the show, but he's aided in his efforts by a fine supporting cast.
Teresa Doggett draws laughs as K's landlady, Frau Grubach, and as his meddling and overbearing Aunt Clara. Rusty Gunther finds three different ways to be creatively eccentric with his portrayals of the Inspector, the Magistrate, and the Priest. Bob Harvey pulls triple duty as well, but his flamboyant take on Herr Schultz, and the cowardly mannerisms of Rudi Block (a citizen embroiled in a situation similar to K), stand out.
Margeau Baue Steinau makes a vivid impression as sculptress Titorelli, playfully seated on a swing suspended from the ceiling. Sally Eaton is sharp as K's lawyer, Sophie Kliest. Eaton's cryptic soliloquies amuse with their twisted convolutions of logic. Bobbie Williams adds a bit of life as K's boss at the bank. David Brink and John Reidy are sincere and goofy as the dopey government agents sent to arrest K. Jill Ritter contributes as Sophie's teasing secretary, Leni.
Gary Bell's direction is inspired at times, and he cleverly utilizes the theme of alienation inherent in Kafka's work by occasionally having his actors face the audience instead of the person they're speaking to; creating another sense of isolation for the character of Joseph K. Justin Been's scenic design pays homage to the Twilight Zone, and gives the production a retro-futuristic look. Tyler Duenow's lighting is exceptional, with a 'falling cross' effect providing a humorous punchline for K's riff on symbolism.
This adaptation by Kenneth Albers has moments of brilliance, and it really mines the material for its maximum comic potential, but it's just a bit too long to sustain interest, and the payoff falls a little flat.
Everything in the Garden
Stray Dog Theatre
Through June 20, 2009
Reviewed by Chris Gibson
Though it may have seemed more shocking when it was originally written and staged during the 1960's, Edward Albee's adaptation of Giles Cooper's Everything in the Garden, still packs a healthy punch. Stray Dog Theatre closes their 2008-2009 season with a wonderfully dark and funny production of Albee's work, that's performed by an exceptional cast.
To reveal too much of the plot would be a disservice. Suffice to say, it centers on a couple in the suburbs who are wallowing in a debt created by their attempts to keep up with their neighbors. Jenny and Richard are struggling to maintain their relationship, while wrestling with money issues that threaten to consume the pair. Though Jenny is perfectly willing to work, Richard's old fashioned values prevent him from even considering her offer. A solution arrives in the person of Mrs. Toothe, an old English lady who provides Jenny with a means to earn the cash she so desperately desires. You see, she has a green thumb, and a burning desire to have a greenhouse erected. But, I won't spoil it by divulging anymore.
Julie Layton is a nice fit for the role of Jenny. She projects a vulnerability that gives depth to her portrayal of this frustrated housewife and mother. Her willingness to go along with Mrs. Toothe's offer seems dubious at best, but
Donna Weinsting is a model of British restraint as Mrs. Toothe. Her flawless logic compels those around her to follow her down a rather sordid path. Zach Huels is properly concerned as their son, Roger, back from school and thoroughly confused over the sudden tension between his parents. Justin Ivan Brown is good as Jack, a wealthy and tipsy friend of the couple who likes to pop in from to time to act as narrator.
Solid support is provided by Katie Puglisi, Casey Boland, Jessica Bartz, Luke Lindberg, Jennifer Zoole and Mark Zoole, who amuse and confound as the neighbors invited to the garden party.
Gary Bell's assured direction and period-perfect costuming expertly captures the mood and attitudes of suburbia in the 1960's. Jay Hall and Justin Been contribute a totally mod set design filled with retro furniture and colored panels that wouldn't look out of place in a modern art gallery. Tyler Duenow's lighting is understated and effective.
Though the antics of a group of "desperate housewives" may seem a little old hat at this point, you'll be pleasantly surprised by the quality, and timeliness, of the dialog that Albee dishes out. This is seriously hilarious stuff that will make you think as well as laugh.
Everything in the Garden continues through
Medrano
Circus Flora
June 4 – 21, 2009
Reviewed by Chris Gibson
Although I've seen plenty of circus movies and acts over the years, I'd never actually sat under a big top and enjoyed one up close and personal. A chance to gather up the family and check out the wonders of St. Louis's own Circus Flora, provided me just such an opportunity. Their French-infused concoction, Medrano, provided my son and I with our first experiences witnessing the magic that this one ring circus conjures up each summer in our own backyard. To quote John Lennon, who was himself referencing an old circus poster he'd found in a junk shop: “A splendid time is guaranteed for all”.
There's a narrative that runs through this production that references the Montmarte circus of the late 19th century. It all takes on a decidedly Parisian flavor with various romantic intrigues involving a lady in red, and the peculiar running thread contributed by Yo-Yo the Narrator. None of this really matters, except that it sets the mood and tone of the show. The real attraction here are the acts, not the atmosphere, and the performers provide a wide range of athletic daredevilry, all of which is thoroughly engaging.
Terry Crane's amazing work on an aerial rope set the bar high, as he repeatedly pulled his way toward the ceiling, carefully winding the rope around his body at the peak, before letting it unravel with balletic grace as he tumbled downward. Alesya Gulevich displayed her charms with a hula hoop demonstration that demanded immense concentration on her part. I lost count of how many ended up on her lithe frame by the end. As a first act finale, you can't beat The Flying Wallendas, an act that's been thrilling audiences with their high wire shenanigans for nearly a hundred years.
Horse riding was also on the bill, and a number of variations on the equestrian arts were featured. Sasha Nevidonski performed an aerial ballet with his horse Mammut, that was as impressive visually as it was physically. The Ianna Spirit Riders segment gave a group of young girls the chance to show off their skills at balancing on top of these thundering beasts, while Omar Chinibekov and The Riders of the Ring displayed the intensity that's required to perform their own particular brand of trick riding.
The St. Louis Arches delivered a cheerfully peppy series of acrobatic stunts that delighted the youngsters in attendance. But, it was Johnny Peers' Muttville Comix, a motley collection of the most adorable trained dogs you've ever seen, that really got the crowd roaring. And, I'd be remiss in my duties if I didn't mention Nino the clown and his playfully silly antics. The Flying Pages closed the action with a trapeze act that managed to generate plenty of “oohs” and “ahs”, as the members flew through the air with controlled abandon.
What impressed me the most was the level of trust that's needed to insure that the performers are working in a safe environment. When you're standing on top of a horse who's running at a full gallop, one slip could leave you paralyzed. And, when you're leaping in the air from one trapeze to the next, you have to hope the net was put up properly. So, this is an operation that really relies on everyone doing their job, and it's a credit to them all that it comes off so smoothly.
Circus Flora's production of Medrano continues through June 21, 2009 in the Grand Center, under the big top.
A Chorus Line
Fox Theatre
May 12 - 24, 2009
Reviewed by Lucy Moorman
Who could resist it; a singular sensation and one of the most popular musicals of all time? Even though I’ve seen this show two or three times by now, it was just as delightful this time as the first time. It still moves me even after all these years. A Chorus Line is the portrayal of young dancers and seasoned dancers hoping for their big break on Broadway as we witness their fears and vulnerabilities and know they are our own. We can relate! That’s what makes this a great show. How many of us have a chorus of "God, I hope I get it. I really need this job," running through our minds in the current economic situation? Maybe we’re not all dancers but this show hits you in your heart because we (humans) are often reaching for something that’s just ahead. Or we could be expressing our own insecurities thinking, "God, I really blew it, He didn’t like the way I move. How many people does he need," as portrayed in the opening number," I Hope I Get It." The show opens with an audition that is taking place in 1975 at a Broadway Theatre where many hopefuls are crowding the stage and dancing their hearts out. Only eight will make it into the final chorus line. A Chorus Line weaves the life stories of the performers into the story line. We learn that "Mike" became a dancer by stealing his sister’s tap shoes and stuffing them with extra socks in a delightful number called "I Can Do That." We get to know the hopes and fears of the characters. Kristine and Al are married but since she is tone deaf, he finishes off all the sentences for her as she squeaks in grating tones and he sings in fine voice. Or we see Val parade around the stage as she tells her story of how implants improved her career in "Dance: Ten; Looks: Three" singing "Tits and ass won’t get you jobs, unless they’re yours."
The director, Zach, is an unseen presence in most of the show but we hear him as a booming voice who tries to get the performers to open up and reveal themselves. But he is one who is revealed when we find out that "Cassie" who had been a featured dancer is now trying to fit into the chorus line because she needs a job. However, Zach not only "discovered" her but was also in a relationship with her. They have some issues to work out as Cassie tries to convince Zack to hire her in "All I ever needed was the music and the mirror and the chance to dance for you." She does fit her dance style into the chorus line to the well-known favorite, "One singular sensation every little step she takes."
There is no intermission in A Chorus Line but there could have been. At one point the dancers leave the stage to learn the next number and one lone actor is left under the glare of the spotlight and Zach to dig deep and tell his story of being gay, of becoming a drag queen and ultimately being found out by his parents. Although this is our chance to see the mostly disembodied voice of Zach, the director becoming compassionate and gentle, I kept hoping the dancers would return to the stage. This was too long for one lone man to hold the interest of the story in a large theatre. A Chorus Line was conceived and originally choreographed and directed by Michael Bennet. The music is by Marvin Hamlisch. It won nine Tony awards in 1976 including best musical, best musical book, best musical score, best actress, best actor, best director in a musical, best lighting design and best choreography. This touring company was excellent on all counts and nicely paced. I love the opening dance scenes where everyone is floundering around trying to learn the number and finally they all get it together and come on strong as professional dancers. Finally the eight dancers are chosen but as the "rejected ones" leave the stage, they quickly reappear in sparkling tuxedo tights for "One: reprise" in the chorus line. There are 36 high kicks in that last number and that is definitely one of the highlights of this show.
Mary Poppins The final magic piece is the grand finale. Mary Poppins is prone to popping in and out. She disappears midway through the story because the children are misbehaving. She pops back in later when they have learned their lesson. By the show’s end, she puts up her umbrella and flies up and out over the audience. Let your imagination roam, it is a fitting ending to a great show and was very well received by the St. Louis audience with excitement and a standing ovation. It was in keeping with the theme of “Mary Poppins” which reveals a world in which anything can happen if want it. Blues in the Night The Black Rep May 27 – June 28, 2009 Reviewed by Chris Gibson Blues in the Night is a delightful compilation of material that celebrates the many styles associated with the music known as the blues. As conceived by Sheldon Epps, this musical follows three women and a saloon singer as they recall memories from their past in song form. The Black Rep's current production showcases four superb vocalists who bring their own unique talents to the work, creating a marvelous and uplifting experience, filled with enough genuine warmth and good humor, that it may well redefine how you feel about the genre. Set in the late 1930's in a rundown hotel, Blues in the Night follows the lonely lives of four people who have earned the right to sing the blues. A few lines of dialog establish the basic characters present, but they're only referred to as: “The Man”, “The Lady”, “The Girl” and “The Woman”. It really doesn't matter since the treasure trove of classic music is really the star of this show. Although the selections are arranged to reveal specific character traits and experiences, the only common narrative thread concerns the fact that each of them is searching for love, while dealing with heartache. Anita Jackson is a powerful presence as “The Lady”, an aging performer biding her time while waiting for her next engagement. The depth of emotion she reveals in each song is phenomenal, and if it weren't for her equally gifted co-stars, she'd steal the show with her sexy and funny renditions of “Take Me for a Buggy Ride” and “Kitchen Man”. But, it's Bessie Smith's “Wasted Life's Blues” that really finds her in her element, wringing every bit of feeling possible from Smith's touching lyrics. As “The Woman”, Willena Vaughn is exceptional, bringing plenty of sass and attitude to each of the songs. “Stompin' at the Savoy” is given a terrific run through, and it's especially nice to actually hear the words to a tune I'd only heard as a swinging instrumental. Vaughn's take on the boozing and bruising heartbreak of “Lush Life”, and her frisky and comic musings on “Rough and Ready Man”, show off her broad range. Leah Stewart is “The Girl”, and though she doesn't possess the raw power and seasoned voice of her fellow actors, she provides a sweet alternative and a very nice contrast. The least traveled and the most optimistic of the group, she's represented by some of the more challenging melodies like “Willow Weep for Me” and “Taking a Chance on Love”. Later, as her character gets a little tipsy, Stewart delivers a revealing version of Bessie Smith's “Reckless Blues”. J. Samuel Davis is his usual ingratiating and charming self as The Man, but if I have any complaint with this show, it's the fact that he's handed the least amount of material. Davis shines during “I'm Just a Lucky So-and-So”, with his smooth dance moves adding some flash to the proceedings. He's also quite good on “Four Walls (and One Dirty Window) Blues”, which is repeated at the end with the entire cast. Together, the group produces a sparkling sound filled with terrific three-part and four-part harmonies. The opener, “Blue Blues”, the familiar “Blues in the Night” and “Nobody Loves You When You're Down and Out” are all wonderfully realized by the company. The clever juxtaposition of “When a Woman Loves a Man” with “Am I Blue” provides a melodious highlight. Director Ron Himes does solid work bringing this production to life; and though there may not be a lot of movement or action present, it's never dull, with the focus squarely on the singers and this engaging collection of songs. Musical director Charles Creath contributes on piano and leads a strong ensemble that includes: Theodore Harden on bass, Joshua Williams on trumpet and Molden Picket on percussion. Regina Garcia's lovely scenic design neatly captures the feel of a rundown hotel, and each occupant's room reflects their individual personality. Reggie Ray's costumes also work to define each role in colorful fashion. Kathy Perkins lighting is serviceable, but some of the cues were noticeably late in execution. The Black Rep's splendid presentation of Blues in the Night closes their “Season of the Woman” in style. The only thing missing was a packed house at the Grandel Theatre, which this production most certainly deserves. Call 314-534-3810 for ticket information.
Fox Theatre
Through August 30, 2009
Reviewed by Lucy Moorman
Magical. If I had to describe the production of “Mary Poppins” in one word, that’s what it would be. There’s the magic of Mary Poppins (beautifully portrayed by Ashley Brown) herself as she mysteriously appears in a troubled family’s household after the obnoxious children have driven off many other nanny’s. She has special powers, this nanny, and the children quickly learn that she is loving and kind but is not going to put up with any nonsense. The children are mystified as she unpacks her bag pulling out an enormous amount of stuff such as plants or lamps while she sings that she is “Practically Perfect.” By the shows end, you’ll agree.
Another quality of magic is the set design. It seems to have a life of its own. The home resembles a large doll house but opens to reveal a living room. Desks and easy chairs seamlessly slide in from the sides. Later, the furniture slides off to the sides, the house closes and is turned by one hand of Bert (Gavin Lee) the chimney sweep, all the way around as the backside opens to reveal a kitchen. Other scenes slide in place from above with more props appearing by magic (there’s that word again) to complete the scene as the actors enter. The bank scene is a somber drawing in perspective with everything at angles giving the illusion of an actual 3 dimensional building. Very clever!
It’s not just a show for kids. The songs and lyrics are a little corny…”spoonful of sugar”and “supercalifragilisticexpialidocious…etc.” But the show is so fun, strong and upbeat; you’ll be smiling and tapping your toe. There’s plenty for adults to enjoy and many more magic moments. In Mary Poppins world, the statues in the park come to life and dance. Bert, the chimney sweep, dances up the wall, across the ceiling and back down the other wall. The dance numbers are exciting extravaganzas in delightfully brightly colored costumes.
“Mary Poppins” is a musical based on the stories of P.L. Travers and the Walt Disney film that starred Julie Andrews and Dick Van Dyke made in 1964. Who was P.L. Travers? She was born in Australia in 1899, later became a journalist and moved to England . Fascinated by fairy tales and myth, she wrote eight “Mary Poppins” books which have been translated into over 20 languages. The books were inspired by Travers memories of her own childhood.
Cameron Mackintosh is the producer and Co-Creator of this show, also of the three longest running shows in Broadway history—“The Phantom of the Opera,” “Cats,” and “Les Miserables.” The production quality is excellent. This is a Broadway show. The lead characters Ashley Brown and Gavin Lee originated these roles on Broadway. It is very polished and professional.
In the Continuum
The Black Rep
Through May 17, 2009
Reviewed by Chris Gibson
With In the Continuum, playwrights Nikkole Salter and Danai Gurira have managed to construct an amazing and compelling piece of theatre. The play focuses on two women from opposite sides of the globe (South Central, LA and Zimbabwe) who find out that they're both pregnant and HIV positive. But, this isn't some maudlin morality tale, it's an engaging and enlightening work filled with a surprising amount of humor. The Black Rep's current production is a stunning examination of the similarities and differences between these two cultures, and the shocking way that each deals with women who have contracted the AIDS virus.
Nia is a young black girl from South Central, LA, who just wants to party and have a good time. She's out dancing and drinking at a club with a friend when violence erupts that leaves them both in the emergency room. Nia's injuries are mild, but it's here that she finds out she's with child and HIV positive. Her attempts to contact the father, Darnell, a young athlete with hoop dreams, are rebuffed by his mother who knows his "secret", and wants it kept that way to preserve his pending scholarship. Nia seeks advice on her options and contemplates accepting the check she's been given to keep her quiet.
Abigail is a television news anchor in Hirare, Zimbabwe, married with one child. She's having problems with her man and feels a second child will keep him faithful. When she finds out she's expecting and also ailing, she's put in a difficult position by a culture that places the blame squarely on the woman in these cases. She seeks advice as well, even going so far as to contact a witch doctor who bluntly tells her: "Oh, there's no cure for that." Abigail finds herself caught between telling the truth and facing exile, or lying and maintaining the status quo, while she quietly deals with her illness.
This is powerful stuff, and the actresses who take on these two roles, as well as all the people they encounter, are exceptional. Sharisa Whatley gives Nia just the right streetwise qualities that you would expect from her character. As Nia's own mother, she's a revelation, denying any responsibility for the way her daughter has turned out, while cooing and cradling her own newborn from her fifth husband.
Whatley's performance is matched by Marylynn Gwatiringa as Abigail. Her cultured sounding voice is in sharp contrast with Whatley's profanity-laced street vernacular, but their dependence on the shiftless men in their lives is all too common and familiar. Gwatiringa's portrayal of the witch doctor her character consults is smartly etched, neatly capturing his flair for the dramatic with appropriate dance and costuming, as well as his resignation at the truth of what he can actually do for her.
Lorna Littleway's direction is focused and assured. Both actresses bring intensity and energy to their performances, and this high level of commitment really pays off. Brian Purlee's simple scenic design is effective in keeping them both at the center of attention. Jim Burwinkel's evocative lighting scheme and Ashley Turner's sound design work to bring the various locales to life so that there's really no need for extensive scenery or backdrops. Linda Kennedy's costumes nicely differentiate all of the characters presented.
The Black Rep's splendid production of In The Continuum continues through May 17, 2009 at the Grandel Theatre. Call 314-534-3810 for ticket information.
