www.Intermission mag.com
January 2010
Romeo and Juliet with Street Cred
The St. Louis Black Rep
The Fabulous Fox Theatre
Reviewed by David Mount
As presented on January 29, 2010
Runs through February 14, 2010
It is said (by whom, I can’t recall), there are some half-dozen universal tales and nearly all other stories repeat the same foundations in all geographic and societal and temporal conditions. The renowned Swiss psychologist and renegade student of Freud, Carl Jung and his “disciples” have demonstrated the universality of fairy tales across cultural boundaries, even where societal intermingling is archeologically impossible. However, it is critical for the storyteller, in whatever creative art or setting in which the tale is presented, to convince each receptive individual of the story’s validity, temporal context, and personal relevance. Friday night’s audience was diverse in both race and age and judging from our reactions (at the end of the performance as well as throughout), and indeed my own impressions of this memorable evening, the troupe was eminently successful in achieving those goals.
The universality of Shakespeare’s timeless tale of “star-cross’d lovers”, written sometime between 1591 and 1595, was successfully adapted by The Black Rep to a more contemporary setting. Retaining The Bard’s eloquence, they also inject contemporary expressions with masterful enhancement. Crowd-pleasing and entertaining dance to Motown hits (kudos to Heather Beal, choreographer) anchor the timeframe to 40 years ago while jaw-clenching, teeth-grinding street fights (Andrew Keller, fight choreographer) fix the location to any American town large enough to have gang territories. I appreciated that costume designer Jennifer Krajicek opted to have Lord and Lady Montague attired in contemporary ethnic styles while their counterparts, Juliet’s parents, “chose” to be more conventional. The younger characters dressed as we know urban teens of the 1970s would: Afros, Army jackets, muscle shirts, tattered bellbottoms. All-in-all, the entire cast, crew, and directoral staff have successfully brought the audience into the production via very credible affective elements. After all, it would seem that the purpose of nearly any theatrical production, be it live or on the screen, is to make plausible to the viewer, the perspective of the players and through that experience, enable us to understand one another from a not-so-voyeuristic position. Both my guest and I were emphatically enthusiastic that The Black Rep was thoroughly successful in this endeavor.
Simple but flexible sets by Jim Burwinkel and effective, dramatic lighting (Sean Savoie) gave the audience clear impressions of streets, the Capulet’s home, as well as the catacombs of Verona. Producing director (and Lord Capulet) Ron Himes and Director Chris Anthony had either a challenge on their hands or were presented a gift when one considers the variety of experience of the cast. While there were no fewer than 5 cast members and one student intern making their debuts with The Black Rep, the balance of the cast have truly incredible resumés in professional theatre. While I have to limit my verbosity in this column, I can’t be stifled before commenting on the outstanding jobs done by Linda Kennedy, Chauncy Thomas, and Tim Norman. Ms. Kennedy was, of course, the elegant and proud Lady Montague, but in my mind, her performance as the Apothecary selling poison to Romeo was even more mindbending. Tim Norman, in the role of Tybalt, astonishingly accomplished in his debut performance! But in my mind, the most outstanding player of the night was Chauncy Thomas in the role of Mercutio. His bravado and provocations of his bro Romeo were sensational and I offer that you need to appreciate for yourself why I found myself smiling when he was centerstage, throwing karate poses. With ability in the cast represented by these three actors covering the experience spectrum, Himes and Anthony must have had a great time putting this production together!
The only short-falls of Friday night’s presentation would be that despite the intimate setting of the Grandel, I had some difficulty hearing a few lines of dialog, but these were sufficiently brief that it may have been more of a personal issue than a production or player “fail” and even slight familiarity with the play made these losses non-consequential. The second issue was that the fight scenes seemed somewhat stilted although I appreciate that even unintentional injury would be less than desirable. In a couple of places (although not the battle in which Mercutio is killed), I felt that it was not due to a lack of enthusiasm on the part of the players.
It is a credit to Shakespeare that he is translatable to any language, any location, any time… He resonated in 16th-century England and with the same lesson even when set in an urban US locale in the latter half of the 20th. The Black Rep resonates in the 21st century!
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[title of show]
Repertory Theatre of St. Louis
Reviewed by Verna Kerans
A show that really fits into the category “something different” is the newest offering at the SLRep at Webster.
First of all it is called [title of show]. How it got that name is quickly explained by Jeff (Benjamin Howes) and Hunter (Ben Nordstrom). This is a musical that was written by just beginning – it may have been Chekov who said “just sit down and write something - anything – as long as you begin.”
So this is how these two, Jeff Bowen and Hunter Bell, music composer and writer, began to write their musical. They just started talking and writing down what they said.
After the beginning they called in two female friends Heidi (Amy Justman) and Susan (Stephanie D’Abruzzo) and took down everything they said as well and the quartet quickly (in three weeks) had a musical to enter in a contest for the New York Musical Theatre Festival. Originally, the four who wrote this show were the actors performing. It won the contest and went on to be presented at the Vineyard Theatre in 2006 and an eventual Broadway run at the Lyceum Theatre in 2008.
There are several songs that I really liked. The Playbill Song – Monkeys and Playbills - was lots of fun – where did they find all those old Playbills? Die, Vampire, Die, which is a hymn to ego and self-confidence, and finally, Heidi singing “A Way Back to Then”. As she sang I wondered–did we all start at eight years of age trying to put on a show in the backyard? How it brought back memories! I would love to take a survey of all the theatre people who got hooked at this tender age.
The show fits well into the category of “what you already know about the theatre will greatly enhance your enjoyment of the show”. But anyone can enjoy this peek into how it all began.
It’s different and interesting. Ben Nordstrom is a little way over the top but, for the most part, this is a well-balanced cast. David Horstman is the Musical Director /Larry and even has few lines!
The show runs until January 31, 2010. Call 314-968-4925.
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The 39 Steps
The Repertory Theatre of St. Louis
Script adapted by Patrick Barlow from the novel by John Buchan
From the Hitchcock film “The 39 Steps” and an original concept by Simon Corble and Nobby Dimon
Review by C. J. Jones
as performed on January 7, 2010
Let me just start with: The set by James Wolk was fabulous! The very modern Repertory Theatre was turned into an old St. Louis University theatre during the early ‘70s, with loose bricks and all. I felt transported back to my old college days when, while waiting to go on, we would sit around playing spades or Jim would teach us to crochet. Yes, he really did! And that is an occupation that I continue to this day – but I digress.
Let me also say that I was really excited about this production because I simply adore Alfred Hitchcock. And, upon the curtains opening, I completely forgot The Rep’s letter indicating they were doing this show in a somewhat farcical fashion, and felt transported into the world of Hitchcock with its dour drama and titillating murders by the sheer magnificence of Mr. Wolk’s set, complete with loosened bricks, the rafters and the feel of a cold draft coming through the stage door.
Within minutes, however, I was again transported back to my college days when, simply to facilitate line memorization, we would completely mess up the context of the story, playing the characters in ludicrous fashion, and giving double entendres to each line. It was much fun to do, but we, of course, never performed the show that way to an audience. This exercise just kept us fresh during long rehearsals and sometimes discovered new meaning in old, tired, over-rehearsed lines. This “messing up” is what, I felt, we were served with this so-called Alfred Hitchcock presentation. Yes, Alfred would turn over in his grave with a final “Good Night.”
In addition to the set, the costumes, lighting, props and sound were all superb as usual. We’ve grown to expect nothing less from The Rep, but I am disappointed that the directors chose this particular bastardized version of The 39 Steps. Suffice it to say, I would much rather have enjoyed the treat of a real Alfred Hitchcock drama.
I was not bored, however. There were many, many laughs, with quite a few from the belly. But I grew tired within minutes of the constant foppish slapstick of the two Men (played by Michael Keyloun and Tyrone Mitchell Henderson) and the over-the-top comedic acting of the characters Annabella/ Pamela/Margaret (albeit played very well for this production by Marina Squerciati). I enjoyed (and/or was least annoyed by) Paul DeBoy with his portrayal of Richard Hannay. He still seemed to maintain some of the integrity of The Gentleman Adventurer.
I know The Rep is always reaching to stretch the limits of the theatre experience, and I applaud that endeavour. I just can’t help but wish they would do less of the foppishness, which seems to appear somewhere in nearly every production, and give some of us heterosexuals a rest. Sorry if you don’t agree; just my opinion. Save it for Cabaret.
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Chicago
The Fabulous Fox Theatre
Reviewed by Lucy Moorman
January 1-3, 2010
Sure, we were tired from the cold and all the party festivities but still a substantial crowd made it to seeChicago on New Year’s Day. And it cheered us up.
The musical Chicago is a satire on corruption based on the 1924 trials of two murderesses with memorable music (All That Jazz) and choreography in the style of Bob Fosse. That means bowler hats, white gloves and plenty of slinking around.
The two main slinkies were a red-headed Roxie (Bianca Marroquin) and an African-American Velma (Brenda Braxton) as the murderesses competing for the best lawyer and the most publicity. The sleazy lawyer, Billy Flynn, is played by Tom Wopat (from The Dukes of Hazard in the 1980’s who has since gone on to play many other Broadway roles).
Red-headed Roxie was quite cute and coquettish in her energized version of Roxie with vampish Velma playing a smoother, more sophisticated role. Both were strong leads and gave fine performances of all the numbers.
The opening number was a bit lack-luster but the second half of the show picked up in speed and intensity especially with the pacing of the courtroom scene. The stage was dominated by the orchestra set in a large box with bleachers that the actors occasionally brought into the show. For example, Roxie interacts with the conductor and Roxie’s “jail cell” is kept in those bleachers amongst the musicians. That only left a small area in front of the orchestra box for the dance numbers.
I especially enjoyed Razzle Dazzlewith all the brightly colored triangular metallic confetti that drifted from the rafters—very sparkly! Roxie’s poor dumb husband Amos (Tom Riis Farrell) stood out in his plaintive song, Mr. Cellophane, because he feels he is invisible. And Mama Morton (Carol Woods), the prison guard and chief commander, belts out a great version of When You’re Good to Mama.
Although there’s not much story toChicago, the final dance number,Hot Honey Rag with original choreography by Bob Fosse, was a highlight. Both Roxie and Velma are acquitted and pair up to give us a grand ending with the company joining in for the fantastic finale.
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A Christmas Carol
The Fabulous Fox Theatre
Reviewed by David Mount
December 2009
I took my 10-year old son, Sean, to this holiday presentation at the Fox. I’d heard Dickens’ A Christmas Carol at least a dozen times by the time I was his age because my father would play a scratchy LP of a radio production as the family decorated The Tree. To this day, I can recite many of the lines of just about any of the characters from that production. Although I’ve also seen the 1951 production with Alistair Sims as Scrooge, as well as the more contemporary versions with George C. Scott and Patrick Stewart in the same role, the Charles Jones’ stage adaptation for the Nebraska Theatre Caravan was the first live version I’ve seen of this “essential” Christmas story. While there were some adjustments to make it a reasonable length for the many children the show attracts as well as to facilitate some effects only possible in one's imagination or by taping in front of a blue screen, it was reasonably similar to the versions I know and to the original book passages with which I am familiar.
I have to tell you that my son is an extrovert, even if he’ll tell you he’s shy. He loves to sing and is a very enthusiastic participant in theater productions at New City School, so he was experiencing this musical production from this perspective as well. Through most of the two hours, he sat on the edge of his seat, absorbing every minute. He has seen the Scott and Sims movie versions several times, as well. When asked what he liked most about this stage production, he was impressed with the Spirits of Christmas and the fearful, dead-as-a-doornail Marley (played convincingly by Jeff Haffner), a very surprising statement in this age of digital special effects! Nothing digital in thisproduction. Congratulations to the entire theater troupe for that success!
The evening launched with a lively street scene in which citizens of London convinced us that we were party to late afternoon of Christmas Eve, 1836. Colorful costuming and enthusiastic song and dance, interplay of characters and lively dialogue demonstrating the Christmas spirit of a less commercial era put the audience in the mood. The round of applause at the end of the first two carols, "God Rest Ye, Merry Gentlemen" and "Gloucestershire Wassail", was just the first of many enthusiastic responses from the theater-goers of all ages. In fact, the production of one number was beautifully presented as a chorus of carolers who reminded the theatergoers of why we love to hear Christmas carols.
While I’d be tempted to comment on the entire performance and every performer, it seems imperative that I should limit myself to a few outstanding recollections, but I want it to be understood that every actor and actress was strong and confident, their stage presence powerful and lyrically well-qualified. All the songs were of English origin except one ("Susanni") which is of Germanic origin. The musicians played well, never overpowering even the smallest voices of the cast. While some (more important) characters were amplified by unobtrusive wireless microphones there were a few places where it was difficult to hear the lines of lesser players. Otherwise, the sound overall was great, save for one small interval where there was a bit of feedback and reverb.
It might be not surprising that the Cratchit family was particularly notable; indeed, one would expect so given the focus on Tiny Tim, played well by Quincy Ellefson, a curly-topped blonde whose waif-like appearance lent credence to his mimicked stricken health. His father, Bob Cratchit, brought to life by Nicholas Masson, was both pitiable in his cowering under Scrooge’s (Paul Thomas Kerr) excoriation and threat-laden aggression, humorous and cheerful with everyone else, and enviably loved by his family. The three scenes in the Cratchit home were perhaps the most emotionally evocative of the production given the believable familial closeness of the players. Audience members around me empathetically sniffled as the family mourned Tiny Tim’s passing in the “shadow of a Christmas yet-to-come” in Scene Two. While the other four of the Cratchit brood were very good in their roles, Dana Colagiovanni’s scathing lambast of Scrooge as Mrs. Cratchit left no doubt that the expression “no love lost” for her husband’s employer falls far short of how she really felt!
Particularly pleasing was the unexpected casting of Anna Danielson as the Ghost of Christmas Past. While Dickens describes this first of the triad of visiting spirits as “…like a child; yet not so like a child as like an old man…”, Ms. Danielson’s lithe laughter lifted the audience to amicable appreciation for her enjoyment of her post-life duties in direct contrast with Marley’s Ghost's chilling description of his own. And while Dickens originally had Scrooge touching the mirthful Spirit’s sleeve to levitate them above the wee-hour London streets, to effect the same conductance into the past, Scrooge’s bed spins mysteriously yet merrily across the stage, simultaneously causing him to clutch the bedpost in fear as the Spirit and the audience rolled in laughter.
The sets were cleverly designed, facades readily rotated to bring the audience into the counting house, for example, and with simple additions of small items such as tables and desks or street lamps to amplify the intent of the scene. Despite the relative incomplexity of the scenery, it was beautifully built and with the evocative lighting (both by James Othuse), it created a rich environment that conveyed well the feeling of the play.
While I cannot comment on the chronological accuracy of the costuming, it seems appropriate for this production that the characters were colorful and appropriate for the conductance of the numerous well-choreographed musical numbers the troupe performed throughout. Kudos to Tom Crisp, Kathryn Wilson, Denise Ervin, and John Gergel for the costuming and to Joanne Cady, Roxanne Nielsen, Michelle Garrity, and Sara Mau for choreography and dance success!
The overall production (directed by Carl Beck, Susan Baer Collins and Susan Clement-Toberer) was lively, convincing and worthy of national press. I sincerely doubt there could have been even one unmoved theater-goer ofany age unless they were dead on arrival that evening! And to them I say, “Bah-humbug!” If you didn’t see this performance of A Christmas Carol this year, please mark your calendars to reserve your spot at the Fox for next year. If you did see it, you probably understand why many local families attend year after year.
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The Fabulous Fox Theatre
April 24 – 26, 2009
Reviewed by Chris Gibson
I'm a fan of John Waters, and I've been one ever since I saw one of his films on video back in the early 1980's. After reading his autobiography, Shock Value and seeing Polyester (1981) on the big screen, I knew he was a filmmaker and a writer to be reckoned with. When Hairspray was released in 1988 with a PG-rating, it became his most successful and mainstream effort, reaching a far wider audience in theatres and on video than any of his previous work. So, it came as no surprise to me when it was targeted as a Broadway show. Though this version is a bit tame in some respects, the central messages of acceptance and equality shine through in a colorful and family-friendly atmosphere that ensures an even wider audience will be exposed to the oeuvre of Mr. Waters. And, that's a good thing.
Tracy Turnblad is a chubby girl with a big voice and even bigger dreams. She wants to dance on the Corny Collins show, and she also wants to see it fully integrated. She also has her eye on Link Larkin, a dreamy Elvis- type who dances and performs on the show. When her dreams begin to come true, trouble ensues with protests and riots. But, this is all harmless fun, so you know things will work out in the end.
Brooklynn Pulver is a firecracker as Tracy. She deftly pulls off all the dance moves, including the Madison and the 'dirty boogie', but she's also got a terrific voice and winning personality. The opening exuberance of “Good Morning Baltimore” is an nifty introduction to her voice, and it also sets up the characters and the town they live in with a gloriously seedy tableaux of inhabitants.
Amber Rees is a goofy delight as her repressed friend Penny. Jerry O'Boyle is a riot as Tracy's mother, Edna. O'Boyle almost makes you forget the iconic performance of Divine in the role with his splendid comic timing and hilarious vocal gymnastics. Matthew Ragas has the right look for Link, and acquits himself well vocally, with a strong version of “It Takes Two”.
Sean Zimmerman is likable as Corny Collins, who's trying to get the sponsors to think more progressive and allow all races on the air. Zimmerman's run through Hairspray, as a commercial for the sticky stuff plays out, is a kitschy delight. Lisa Linette is very good as Motormouth Maybelle and belts out a rousing rendition of “Big, Blonde and Beautiful” at the end of act one. Her take on “I Know Where I've Been” in act two is touching and powerful.
John Edwards contributes nicely as the object of Penny's interracial love, Seaweed. He displays his vocal talents on“Run and Tell That”, and utilizes his lower range to good comic effect when wooing Penny. Kate Feerick is insanely funny as a lesbian gym teacher. Erin Sullivan is properly evil as Amber Von Tussle, Tracy's blonde rival for the crown of Miss Hairspray 1962. Ariel Tyler Page gives her all as her mother, Velma. But, she seems more like Cruella Deville (a Waters favorite) than the character I'm more accustomed to, and that's a change that distracts from the main story. She does solid work belting out “(The Legend of) Miss Baltimore Crabs”, but she's too ambitious for me here, in sharp contrast to the original, where her focus was clearly on her daughter's ascent to fame and not her own.
Matt Lenz and Danny James Austin do fine work recreating the original Broadway direction and choreography. This is a splashy and fast paced show, and the cast seems to be having a blast. David Rockwell's cartoonish recreations of these Baltimore locations are a tacky delight. Paul Miller's lighting is flashy and eye-catching. William Ivey Long's costuming captures the era with just the right dull sheen applied to give it the “cheese factor”. Paul Huntley's hair-hopping wig creations deserve mention as well.
The Black Rep
Through April 19, 2009
Reviewed by Chris Gibson
Vanika Spencer's believable portrayal of Rose anchors this play, giving it a touching and compelling quality that it so desperately needs. Spencer deftly conveys the mannerisms and physical attributes one would associate with her character's disabilities. In fact, she's so convincing that it's jarring when she comes out of that state to share the thoughts and feelings she's unable to communicate otherwise, including an explanation of the title's meaning.
Kathi Bentley is solid as Jo, so single-minded in her pursuit of her career, that she's lost sight of what actually makes her happy. Mostly told from her perspective, and often in non-linear fashion, the play requires Bentley to deal with constant shifts in tone as scenes bounces between her work and her home life. Thyais Walsh underplays too much as her lover, Cecilia, but does add a degree of warmth and tenderness that neatly balances their pairing.
Alex Miller is very good as Dakota. And though she's dressed like a tart, with her skirt far too short, and her midriff bared, she capable of demonstrating the depth of feeling she has for Rose. Cathy Simpson plays her counterpart, Brenda, as a wealthy woman who's used to having her way, completely oblivious to the protests of those around her. Christina Rios nicely rounds out the cast as Jo's plucky, and much beleaguered secretary, Sylvia.
Director Ron Himes finds the heart at the center of this play, but there are too many unsure moments, some attributable to the script itself, that prevent this production from succeeding fully. Regina Garcia's functional scenic design allows the various locations to blend into one another, allowing for some fairly seamless transitions between scenes. And, Jim Burkwinkel's lighting scheme is dramatically effective, and cleanly executed.
The Repertory Theatre of St. Louis
March 11 – 29, 2009
Reviewed by Chris Gibson
I was curious as to whether there were any recordings readily available to me that showcased the unique and peculiar vocal "talents" of the late Florence Foster Jenkins. A trip to iTunes satisfied my curiosity immediately, with two collections of her work providing an immediate opportunity to sample her wares. I can honestly say that I wasn't disappointed; Florence's total disregard for any sense of pitch had me laughing from the moment she began warbling. But, there's more to her story than meets the ear, and Stephen Temperley's hilarious and moving play, Souvenir,offers up a warmly realized take on her amazing ascension. The Repertory Theatre of St. Louis closes their Studio Theatre season with an engaging production of this fascinating tale.
Told from the point of view of reluctant accompanist Cosme McMoon, Souvenircovers the twelve years that they performed together from 1932 until Jenkins's untimely death in 1944. It's an intriguing and amusing ride that finds him unsure as to whether Florence was delusional or insane; her singing is just that bad. Either way, she provides him with an the chance to work on his compositional skills while earning a living as her pianist and arranger. The notoriety weighs on him, but the income pays the rent. Still, there's no denying the fact that her unshakable belief in her ability to touch people (even if she was misinterpreting their stifled laughter as sobs), and her complete inability to sing on key, made her a compelling figure.
Edwin Cahill is excellent as Cosme, deftly pulling off a characterization which requires him to tickle the ivories with precision, while also communicating the broad range of emotions presented by the script. Cahill gets to sing a bit as well, and nicely tackles snippets of standards like "One for My Baby", "Crazy Rhythm","It All Depends on You", and "Violets for Her Furs", while he recalls various phases of his career accompanying Jenkins. His best moments come during the climax as Jenkins announces her invitation to perform at Carnegie Hall. Cahill literally crawls under his piano in response to this "surprise".
Neva Rae Powers impresses mightily with her portrayal of this tone deaf and charitable matron. It takes either an exceptional singer, or a thoroughly awful one, to pull off this kind of material. Powers reveals herself as the former when she gives voice to the sound that Florence must actually hear in her own head. Her tender take on "Ave Maria" is in direct contrast with the caterwauling and chicken squawking version she offers up during their initial encounter. And, Powers also gives Jenkins an unexpected degree of depth. She's a completely oblivious riot early on, but when she finally begins to catch on to the true nature of her appeal, she proves she's capable of touching your heart as well.
Michael Evan Haney directs with style and grace; and there's a terrific chemistry going on between these actors that really sells the drama along with the humor. Brian Mehring's set design provides a glossy cityscape backdrop that evokes the era. Betsy Krausnick and Tracy Christenson conjure up the crazy costumes that get nearly as many laughs as Florence's singing does. John Wylie's lighting heightens the drama in effective fashion. Rusty Wandall's adaptation of Fitz Patton's original sound design really shines during the Carnegie Hall sequence, adding a noticeable degree of tension to the scene as the crowd begins to get unruly.
The Black Rep
Through March 15, 2009
Reviewed by Chris Gibson
Pearl Cleage has crafted a brilliant and compelling work with A Song for Coretta. It's an acting showcase for five performers, whose characters relate the reasons why they've come out on a cold and rainy night to pay their respects to the late Mrs. King. Over the course of a briskly paced 90 minutes, they reveal their motivations and, in the process, illuminate the legacy left behind by this courageous freedom fighter. The Black Rep is presenting a wonderful production that's filled with joy, laughter and tears. It's an absolutely pure theatrical experience.
College student Zora witnesses the long lines wrapping around the Ebenezer Baptist Church on the evening of Coretta Scott King's funeral service, and views it as an opportunity to create a radio piece for NPR. Her intent is to compile a series of simple interviews, but she ends up with far more than she bargained for, as four diverse women, covering a broad span of generations, open up to her about their life experience.
Andrea Frye impresses as Helen, an older woman who actually had contact with Mrs. King when she was a child during the bus boycotts. She's a pillar of strength and dignity, but she's become increasingly bitter over what she views as the corruption of the black youth, and wonders privately if the struggle for civil rights was worth it. Frye conveys the depth of characterization that Cleage has provided her, and her gradual softening over the course of the play is believable.
Cathy Simpson is strong as Mona Lisa, an artist and New Orleans native, who's been through the horror of Katrina, and has lost her family and home. Simpson has attitude to spare, but she's also warm and friendly, and full of eccentricities as she sketches each member of the group. Her story overlaps in dramatic fashion with that of gulf war soldier Gwen, played by Leah Stewart. When Mona says she's been through war too, Gwen objects, but as they tell their stories she sees that tales are not dissimilar.
Rory Lipede is both hilarious and moving as Keisha, also known as "Li'l Bit". She comes across initially as the worst example of gangsta culture, with her bared midriff, gold chains and Ugg boots. But when she begins to explain why she's there, it's just so wholly unexpected that it touches the heart.
Candace Jeanine is mostly a cipher as Zora, although she does fine work. It's just that it's the least developed part, acting as more of an extension of the writer than as a fully defined person.
Eric Kilpatrick's expert direction keeps the action and actors focused and intense. Though the tone of the piece does vary from time to time, there are no false moments to be found here. Dunsai Dai's set is smartly conceived and executed with a corner section of the church, complete with neon sign, imposing without dominating. Darryl Harris's costumes give each character a distinct presence. David Warfel's lighting is nicely atmospheric. Ashley Turner's sound design sets the mood of the location and gives depth to the stories told.
January 7 – February 8, 2009
Reviewed by Chris Gibson
The sheer breadth of material from the 1950's to the 1990's covered in Tell Me Somethin' Good is staggering. With the inclusion of over 60 tunes, Ron Himes has conceived a revue that plays like a musical history lesson, transporting us back to the humble and joyful beginnings of R&B, and revealing the lasting impact that these songs have had. The Black Rep opens their 32nd season with this classic from their repertoire, and it features a terrific cast perfectly capable of recreating these vintage numbers for a new generation to enjoy.
The show begins with a rousing take on the title tune. It then flashes back to the days of street corner doo-wop. The quartet of male vocalists run through numbers like "So Fine" and "Charlie Brown", with Brian Owens impressing with his vocal range, singing the bass parts on a few numbers before he takes the falsetto lead on Frankie Lymon's "Why Do Fools Fall in Love". His version of "Sixty Minute Man" is a sexy sizzler. The female foursome of Lisa Harris, Rochelle Walker, Tameka Bradford and Sarah Stephens answers back with their own scintillating selections culled from the popular girl group recordings of the period.
J. Samuel Davis reveals his honey-dripped voice with a wonderful rendition of "Only You". Drummond Crenshaw hams it up in delightful fashion for a spirited run through "Tossing and Turning" and a Latin-tinged"Summertime". His comic reactions as he attempts to find a willing dance partner during "Gee Whiz" are priceless. DeAndre Perryman shines on a bluesy version of"C.C. Rider".
The ladies manage to strut their stuff as well, with Walker delivering a solid vocal on "I Had A Talk with My Man Last Night", and Stephens standing out on"Mama Didn't Lie". But, the highlight of act one is the extended Aretha Franklin suite. Lisa Harris gets the room rocking with "Think", following up with Bradford in an emotionally powerful version of"Ain't No Way". Harris and Davis duet to good effect on "I Ain't Never Loved a Man" before the showstopping "Dr. Feelgood" closes the act.
The second act features a plethora of familiar selections from the Motown catalog. Stephens headlines a tribute to the Supremes, and Davis does his best Stevie Wonder with warm and inviting turns on "My Cherie Amour" and "Signed, Sealed, Delivered". "Shaft", "Jungle Boogie", "Shining Star" and "Lady Marmalade" are all given cursory arrangements before the show heads into it's stretch run. A collection of terrific downtempo ballads are neatly balanced against the upbeat strains of "It's Your Thing", "Give Up the Funk" and the re-worked rap version of "Shoop". Boyz II Men's "End of the Road" makes for a fitting finale, recalling and celebrating the music's doo-wop roots.
The band, led by musical director and pianist Charles Creath, lays down a solid foundation, but I personally feel they should have a stronger presence in the overall mix. Creath is joined by Jimmy Hinds on bass, Molden Pickett on drums, Stanley Coleman on saxophone, and Craig Florez on guitar. Florez takes a sparkling solo turn during the rousing rendition of "Dr. Feelgood".
Ron Himes has assembled quality talent on stage and behind the scenes. This breezy and entertaining production is aided greatly by Lazette Rayford-O'Brien's energetic choreography. Her outstanding work, especially with Nicole Thomas and Heather Beal as the featured dancers, keeps the visuals from becoming too static. Jim Burwinkel's bi-level set, bordered with over-sized 45's from the era fits the theme well. Sarah Hughey's lighting nicely complements the dance party atmosphere. Karen Perry's costumes effectively capture the fashion trends of the decades covered.
The Black Rep's fun and funky production of Tell Me Somethin' Goodcontinues through February 8, 2009. Call 314-534-3810 for ticket information, or go online to www.theblackrep.org.
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Legally Blonde
The Fabulous Fox Theatre
January 20 – February 1, 2009
Reviewed by Chris Gibson
For those who haven't seen the film or the musical, the plot revolves around a rich Malibu Barbie, complete with pink ensemble, named Elle Woods, who's blissfully in love with the man of her dreams. When he decides to dump her and go off to Harvard Law School, Elle follows, but as a fellow student. Her iron will and steadfast dedication allow her, with her trusted friend's support, to apply and enter Harvard. Apparently, love is reason enough to allow her entrance into this prestigious academy. Once there, she actually begins to excel, thanks in part to the interests of third year student Emmett Forrest. Can you see where this is going? Oh, and it's also a courtroom drama, of sorts.
Lauren Ashley Zakrin fills in capably as a replacement for the original Elle, who's recuperating from an injury. But, if you didn't know this, it wouldn't matter, because Zakrin gives an exuberant performance that carries the show. Her reactions to Jeff McLean, as former boyfriend Warner Huntington III, during the breakup song "Serious", are touching and funny. McLean does solid work as her ex, and this ballad is probably the strongest pure melody in the show, although the funky "Bend and Snap", which describes a move that shapely girls can utilize to instantly grab a man's attention, is probably the catchiest. D.B. Bonds impresses as Emmett, duetting nicely with Zakrin on "Chip on My Shoulder", "Legally Blonde" and "Take it Like a Man". As a potential couple they share a nice chemistry.
Natalie Joy Johnson amuses as Paulette, a salon stylist that Elle spills her guts to. Her own tale of romantic woe is spelled out in the silly tune, "Ireland". Ken Land is fine as Professor Callahan, the teacher everyone fears, but would die to serve an internship with. His view of the law is summed up in "Blood in the Water", a jazz-tinged number that seems ill-suited to his vocal range. Megan Lewis is also good as Vivienne Kensington, Elle's rival for Warner's affections. But, Ven Daniel nearly steals the show as the strutting UPS man, Kyle. His every appearance is greeted with gales of laughter.
A strong supporting cast, including a Greek chorus composed of Elle's friends from Malibu, a miniature bulldog, and, of course, Elle's pet chihuahua Bruiser (played by Frankie), all make a nice impression.
Jerry Mitchell's lively direction and choreography keeps the action moving at an almost frantic pace. David Rockwell's scenic design is splendid, with pieces flying in from above, and a nice array of backdrops on display. Ken Posner and Paul Miller's lighting features a multi-colored border that illuminates in various ways to fit the mood, or make a statement. Gregg Barnes's costumes, which lean heavily on the pink side where Elle is concerned, are a delight. The score by Laurence O'Keefe and Nell Benjamin is pleasant, and nicely complements Heather Hach's reworking of the original screenplay. The orchestral ensemble produces a tight sound under Jan Rosenberg's musical direction.
Overall, Legally Blonde is a breezy and easy to take musical adaptation that delivers plenty of laughs. It's themes, like "following your dreams", and "not giving up", are universally inspiring ones used to good, if sometimes campy, effect here. For more information, or to purchase tickets, go online towww.fabulousfox.comHYPERLINK "http://www.fabulousfox.com/" .
Stages St. Louis
December 4 – 20, 2008
Reviewed by Chris Gibson
Having seen the musical version of Louisa May Alcott's Little Women for the first time over the summer, and having been pleasantly surprised by how compelling I found it, I'm a bit disappointed with the rather listless production currently taking place on the stage of the Roberts Orpheum Theatre. Stages St. Louis has certainly put together a talented cast for their first holiday show, but somehow the story never really takes hold and engages like it should. It might have something to do with the venue itself. This is an intimate show that would seem to work better in a smaller auditorium, and the barn-like confines and acoustics of the Orpheum don't really lend themselves to this kind of material.
The plot follows the March family as they deal with adversity during the Civil War. The story is told through the eyes, and voice of aspiring writer and headstrong sister, Jo. She thinks the fastest path to success is penning pulpy tales of adventure and romance, but it's when she begins to actually write what she knows that she finds her true calling. Though she and her family face tragedy and heartbreak, there is a happy and hopeful conclusion. Loosely biographical, Alcott's book is neatly condensed by Allan Knee, with Jason Howland and Mindi Dickstein's music and lyrics filling in the emotional blanks.
Casey Erin Clark gives her all as Jo, and she has a strong voice showcased on numbers like the act one closer "Astonishing", and act two's tearful "Some Things Are Meant to Be". But, she needs to have more of an edge to her performance in order to fully convince. Michael Shawn Lewis amuses as the stuffy and repressed Professor Bhaer. He's Jo's only honest critic, and the sparks you see developing between them are a clear foreshadowing of the love that will eventually develop. Lewis does nice work with Clark on the lovely tune "Small Umbrella in the Rain".
Ben Nordstrom nearly steals the show as Laurie, the boy next door who's smitten with Jo, but can't get beyond brotherly love. Every moment Nordstrom's on stage is electric, and it's a real pity his character disappears for the better part of the second act. He's terrific as he implores Jo to "Take a Chance on Me", and his energy enlivens the group number "Five Forever" as the girls make him an honorary sibling.
Christy Morton is good as Meg, finding love with Sean Hayden as Mr. Brooke. Their duet, "More Than I Am" provides a nice romantic interlude. Pamela Brumley draws sympathy as ill-fated sister Beth. Cary Miller is less successful as the bratty Amy, underplaying too much too early in a role meant to be broad and childish. As matriarch Marmee, Mary Jayne Raleigh is effective as she reacts to a letter from her husband with the tender song, "Here Alone".
Gary Lindenmann finds the soft center beneath the hard outer shell of Mr. Laurence. Kari Ely shines as Mrs. Kirk, who runs the boarding house where Jo and Professor Bhaer live. Zoe Vonder Haar is a perfect fit as society-obsessed Aunt March. "Could You" finds her questioning Jo's willingness to change her ways, even with a trip to Europe as incentive.
Michael Hamilton's direction allows the pace to drag and the focus to wane. James Wolk's bi-level scenery features some cleverly designed movable set pieces. Matthew McCarthy's lighting is generally well conceived and executed. Lisa Campbell Albert's music direction is solid for the most part, but Stuart Elmore's orchestral design sounds thin in spots.
Little Women continues through December 20th, 2008 at the Roberts Orpheum Theatre. To purchase tickets goonline to www.ticketmaster.com.
The Music Man
Stages St. Louis
Reviewed by Chris Gibson
Meredith Wilson's classic musical, The Music Man, gets a lively and engaging workout on the stage of the Robert G. Reim auditorium in Kirkwood, MO. This production may not break any new ground, but it captures the spirit of the show with uncanny accuracy, providing the audience with a time capsule of River City, Iowa, circa 1912.
Con man Harold Hill takes on the challenge of convincing the populace of River City to assemble, through his services, a boy's brass band in order to combat the sin created by the arrival of a pool table in their fair city. But, he doesn't count on falling in love with the local music teacher. And she doesn't expect to feel the way she does either, but Hill's efforts to organize the group bring her lisping brother, Winthrop, out of his shell. Even though the truth concerning Harold's intentions is revealed, true love and a ragged, but effective performance by the boy's band saves the day.
Graham Rowat gives a smooth, slick performance as Hill. He seems to understand the real nature of his character's "business" better than most of the actors I've seen tackle the role. His only moment of vulnerability occurs just when it should, when he finally realizes he's in love. Rowat's fine voice is also on display in familiar numbers like, "Marian the Librarian" and "The Sadder-But-Wiser Girl". Christy Morton, while not the typical blond with a big voice that we're used to, fits the part of librarian Marian Paroo in more realistic fashion. She also has a strong soprano voice. But, at times, it nearly overpowers delicate material like "My White Night"and "Goodnight My Someone".
Edward Juvier is a flustered delight as Marcellus Washburn, a citizen who used to work with Hill before he settled down. His eccentric dancing and enthusiasm during "Shipoopi" is a highlight. Peggy Billo gives Mother Paroo a warm continence and an thick Irish accent. Spencer Milford overdoes his lisp as Winthrop, but his cute and charming take on "Gary, Indiana" is irresistible, nonetheless. Ben Nordstrom, Mike Dowdy, Bill Lynch and Steve Isom contribute splendid barbershop harmonies as the quartet of bickering merchants that Hill brings together through music. Whit Reichert gives his usual solid portrayal, painting blustering Mayor Shinn in broad comic strokes. Gretchen Hewitt makes a bid to steal the show with her hilarious facial expressions as the Mayor's wife, Eulalie.
Michael Hamilton's direction works in tandem with the choreography of Dana Lewis to make the most of the intimate confines of the theatre. Hamilton and Lewis manage to give the production a real sense of style, while maintaining the hometown feeling that's essential to the piece. They're helped by Gene Emerson Friedman's colorful scenic design, Matthew McCarthy's sparkling lighting and Dorothy Marshall Englis's wonderful costumes. Friedman's train mock-up for the opening number is a marvel of economy. Al Fischer's musical direction produces lovely harmonies from the talented ensemble. Stuart Elmore's orchestral design initially shows it's synthesized roots in the difficult to re-create brass riffs. But, overall it matches nicely, blending into the background to allow the beautiful vocal melodies to shine.
Stages St. Louis's production of The Music Man continues through October 5, 2008. The season will finish with a December production of Little Women, at the Roberts Orpheum Theatre.
Disney's The Jungle Book
Stages St. Louis
Reviewed by Chris Gibson
The musical adaptation of the 1967 animated feature film, The Jungle Book, is a sheer delight, perhaps best viewed through the eyes of a child. When the opportunity arose to cover this show, I decided to take along my not quite three year old son. It was his first exposure to live theatre, and I wanted it to be a special occasion. Stages St. Louis's presentation didn't disappoint, providing a crisply paced production that fully captured my son's attention and imagination. An enthralled little boy is certainly evidence enough of the quality of this show, but I'd be remiss in my duties if I didn't go into a bit more detail.
Young man-cub Mowgli, raised by wolves and protected by a panther named Bagheera, has arrived at a crucial point in his life. The fearsome tiger, Shere Khan is returning to the jungle, and his hatred for all things human places Mowgli in harm's way. Bagheera decides to take him to a village where other men and women live, but the journey is perilous, and at times, hilarious, as they work their way toward a final confrontation with the evil Khan.
Christian Probst does fine work as Mowgli, harmonizing nicely with Steve Isom on "The Bare Necessities". Isom is warm and appealing as the lazy bear, Baloo, who becomes a kind of surrogate father to Mowgli when he runs away from Bagheera. Meegan Midkiff is very good as Bagheera, bringing out the feline qualities in the character with slinky assuredness. Katy Tibbets engages as Shere Khan, giving the villainous tigress the proper air of menace. Ben Nordstrom nearly steals the show as King Louie, the orangutan leader of the monkeys who has Mowgli snatched for his own purposes. Nordstrom's version of "I Wanna' Be Like You" is a sing-a-long highlight.
Pamela Reckamp, Maria Tholl and Natalie Wisdom contribute strong work manipulating the costume that represents the hypnotic snake, Kaa. Splendid three part harmony comes through during "Trust in Me", as Kaa attempts to makes a meal out of Mowgli. Timothy Wilson and Zak Edwards are a riot as Cheech and Chong, a pair of monkeys who kidnap the boy for their leader. They do a good job on "That's What Friends Are For", here re-worked for simians instead of vultures. Paul Pagano makes a good impression as the pompous and overbearing elephant chief, Colonel Hathi. Ariane Rinehart is cute as Shanti, whose obvious appeal eventually wins Mowgli over to the thought of living with other humans.
Marc Heisler's adaptation of the script and lyrics of Richard Sherman, Robert Sherman and Terry Gilkyson combines with Bryan Louiselle's musical arrangements to produce a concise and fun packed experience that never drags. The familiar melodies are re-used in ingenious ways, and any dark or scary edges have been smoothed over for kid friendly consumption.
Michael Hamilton's direction and staging is effective and economical, utilizing elements of James Wolk's set for Joseph and the Amazing Technicolor Dreamcoat,while adding a few key pieces to set the mood. Ellen Isom's clever choreography adds to the playful atmosphere on display. Matthew McCarthy's evocative lighting adds drama and color. John Inchiostro's costumes are clear representations of the different animal and human characters that my young son could recognize immediately. Al Fischer's musical direction and Stuart Elmore's orchestral design are both solidly executed.
This was a really fun experience, and I'm glad I was able to choose it as my son's entry into the magical world of live theatre.
Joseph and the Amazing Technicolor Dreamcoat
Presented by Stages St. Louis
Reviewed by Chris Gibson
Just last year, I saw a version of Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat, that featured a husband and wife team as Joseph and the narrator, respectively. This unusual bit of casting managed to give an already fun show, an extra goose in the chemistry department. Knowing going in, that Christopher Kale Jones and his wife Jenna Coker-Jones were set to appear as the leads, I wondered if they would benefit from this same pairing. I'm happy to report that Stages St. Louis's production of Joseph and the Amazing Technicolor Dreamcoat is simply outstanding, with both Joneses giving wonderful performances.
Set in ancient Egypt, this clever musical tells the biblical story of Joseph. Joseph is singled out as special among his eleven brothers by his father, Jacob. Jacob gives him the gift of an attention-grabbing, rainbow-hued coat. In an extreme act of sibling rivalry, his brothers strip him of his clothes and toss him in a well, before they finally decide to sell him into slavery. But, even though he's jailed after an unsuccessful stint as a servant for Potiphar, he impresses the Pharoah with his ability to read his dreams. His advice is taken, and when his visions come true, he ascends to the number two spot. In the end, things come full circle, with his brothers learning a valuable lesson along the way.
Christopher Kale Jones is an excellent fit as Joseph. Fresh off performing the Frankie Valli role in Jersey Boys, there's no trace of that persona remaining in his portrayal. His version of "Any Dream Will Do" gets the action off to a pleasant start, but it's his take on "Close Every Door", while imprisoned, that really soars emotionally. Jenna Coker-Jones adds spunk and sex appeal to the proceedings as the Narrator. "The Prologue" sets the tone for the show, and Jones immediately lets the audience know that this is going to be a fun ride. It's entertaining to watch them interact, and after the rousing "Joseph Megamix", they shared a sweet and tender moment, kissing as the curtain fell.
Rye Mullis does nice work as the Pharaoh, giving his "Song of the King" number all the Elvis Presley flair audiences have come to expect. Ben Nordstrom has fun as brother Levi, with the country-tinged song, "One More Angel in Heaven". The mocking tone of the number is pitch perfect, and the accompanying dance is expertly executed by the brothers. One of my personal favorites, "Those Canaan Days" is also a highlight. Matthew Schneider as Rueben, leads the brothers through the Gallic flavored tune, which finds them bemoaning their fate during the famine Joseph predicted. Vernon Goodman as Judah, delivers a warm and light rendition of the bouncy song, "Benjamin Calypso".
Standing out in support are: Bill Lynch as Jacob; Zachary Halley as Simeon and the Butler; and Lindsey Bracco, tempting Joseph with her sexy gyrations as Potiphar's wife.
Stephen Bourneuf, with an able assist from Ellen Isom, does splendid work directing and choreographing this show. It's one that's always open to a certain amount of interpretation, and having Monks sing the first few choruses of "Go, Go, Go, Joseph" in hushed awe, before the rest of the ensemble comes crashing through in mod sixties outfits, is just one such touch. The tone is kept light, and the pace is brisk, with the show running under two hours with an intermission.
Lisa Campbell Albert's musical direction works well, with creative choices made throughout to keep things fresh. Stuart Elmore contributes a solid orchestral design. James Wolk's scenic design is cute, with a number of well conceived pieces, such as the well, and the Pharaoh's throne. Matthew McCarthy's lighting is eye-popping, with a star field giving a nice sense of depth and scope, during the opening number. Lou Bird's costuming is eclectic and colorful, and mildly risqué at times.
Credit should be given to Tim Rice's lyrical contributions, which give the catchy and tune-filled show a cheeky and infectious good humor. Too often, Rice's work is overshadowed by the attention paid to Webber's music.
This terrifically entertaining production is running through August 3, 2008 at the Robert G. Reim auditorium in Kirkwood, MO. Check out their website,www.stagesstlouis.com for more information on upcoming shows.
Thoroughly Modern Millie
Stages St. Louis
May 30 - June 29, 2008
Reviewed by Chris Gibson
I've always thought it was a mistake to remake a good film. I mean, what's the point? The real challenge is to redo something that's failed, but still has merit. And that's precisely what occurred with the bloated 1967 flop, Thoroughly Modern Millie, with Richard Morris's screenplay getting a polish by Dick Scanlan, and Jeanine Tesori and Scanlan adding new songs to clarify and define the characters and action more clearly and succinctly. Surprisingly, it works, and Stages St. Louis is presenting a spirited production that features a number of winning performances from it's talented cast.
It's 1922, and Millie Dilmount has arrived in New York City after taking the train from her Kansas home. She's a modern woman in thinking and in deed, and she immediately has her hair bobbed and begins to search for a job that will provide her with a rich boss she can marry. But, the hotel she's staying in is actually a front for a white slavery ring being run by a dragon lady known as Mrs. Meers, who's actually an actress and criminal in disguise and on the lam. To complete the picture, there's Jimmy Smith, who literally falls into Millie's life when she trips him on purpose. This entanglement adds the necessary boy meets girl, boy loses girl, boy gets girl back element that's an absolute bedrock staple of musical theatre.
Mamie Parris gives a crackerjack portrayal of Millie. She has all the spunk and determination you would expect, but she's also vulnerable and pitiable when the script calls for it. After a newly written opening number that spells out her purpose, "Not For the Life of Me", she plunges into the title tune, and belts out both with a strong, clear voice. An early highlight occurs when her dictation skills are put to the test by prospective employer, Trevor Graydon, during a song called "The Speed Test".
Ben Nordstrom makes for a fine romantic lead as Jimmy Smith, who's initially dressed in a checked suit that gives him the appearance of silent comedian Harold Lloyd. He and Parris have a nice chemistry working between them, and "I Turned the Corner" finds them reconciling on a window ledge. Nordstrom is also adept at physical humor, and he uses that to his advantage to draw laughs from a simple frantic exit.
One of the more politically incorrect, but hilarious elements of the show is the subplot concerning a white slavery ring. Mrs. Meers is played with delicious menace by the gloriously over the top Kari Ely. Nearly every line she utters, including her catch phrase "It's so sad to be all alone in the world", is presented in pidgin English. Ely's sinister, but silly villain sparkles on the song, "They Don't Know". She's aided by two scene stealing Asian henchman, Ching Ho and Bun Foo, played by Devin Ilaw and Allan Mangaser. Their subtitled dialogue, and I mean this literally, there's a projection of their words translated into English, is priceless. Ilaw and Mangaser generate giggles every time they're on stage, and bring down the house with their version of "Mammy", here called "Muquin".
Graham Rowat also makes a bid to grab attention with his terrific work as the vainglorious manager of The Sincere Trust Company, Trevor Graydon. When he makes eye contact with Millie's roommate Dorothy Brown, played to sickening sweet perfection by Pamela Brumley, the pair launch into a dream sequence straight out of a Nelson Eddy-Jeanette MacDonald operetta. In fact, they both bellow out Victor Herbert's "I'm Falling in Love With Someone" ("Ah, sweet mystery of life at last you've found me...") to superb comic effect. Zoe Vonder Haar is also good as Miss Flannery, a tough as nails head secretary for the firm, who reveals her softer side when she sings "Forget About The Boy" with Millie and the other stenos.
A large and solid ensemble is led by Taylor Pietz, Molly Mahoney, Rachel Kopf, Amy Board, Ellen Isom, Lisa Ramey, Meegan Midkiff and the soulful vocals of Thursday Farrar as socialite and singer, Muzzy Van Hossmere.
Michael Hamilton's direction is excellent, with enthusiastic and well-prepared actors and dancers ripping through scenes and numbers at a steady pace that rarely lags. Dana Lewis's choreography manages to fill the stage without crowding it. Mark Halpin's scenery is an ever-changing backdrop of New York locales, that are given an art deco flair. However, it's the clatter from those changes, which occasionally rumbles over dialogue and musical numbers, that is the only noticeable flaw in an otherwise impeccable production. Music Director Lisa Campbell Albert has a fine group of singers to work with, and they produce a delightful retro sound. Stuart Elmore's orchestral design is well conceived, with a broad spectrum of sound that rarely seems synthesized. Matthew McCarthy's lighting is exceptional, capturing the full spectrum of dynamics and mood.
Stages St. Louis has put together a wonderful show that is definitely a crowd pleaser. Sure, it's lightweight and silly at times, but it's a perfect love letter to the roaring twenties.
A Chorus Line
Darn! You Missed It!!
Family Musical Theater/Ivory Theater
Reviewed by Anne Quinn
November 2009
That is if you didn’t get down to the Ivory Theater to enjoy the Family Musical Theater’s latest production of A Chorus Line. This was no “Let’s paint the barn and put on a show” but a very well directed and performed rendition of this timeless portrait of life.
Not just a dancer’s dilemma but of life in general. Whether we like it or not, we are often auditioning in our daily lives, putting our best foot forward, being successful or not.
Michael Bennett’s choreography was extremely well directed by Director/ Choreographer Larry Love and Co-Choreographer Jim Kimker! Their attention to detail was outstanding. The show was so well performed, it was like watching a Broadway performance. Obviously, a lot of the praise also goes to the Assistant Director, Dan Jones and the Music Director Kevin J. Jones. The orchestra was right on pitch and performed splendidly.
Special praise has to go to Kimberly McCreight (Cassie) whose The Music and the Mirror was outstanding. Another standout was Priscilla Case whose Sheila was just great! Paul played by Terry Love did an excellent job, as did Michael Jones as Richie. It’s too bad there isn’t room to mention all the principals because this was a truly talented cast of over 30 individual actors/dancers. Nor can I forget Larry Love’s excellent performance as Zach.
I wasn’t prepared for the extreme quality demonstrated in this production. It truly rivaled professional theater performances of this musical seen here in St. Louis in the past. I will be looking forward to next year’s season of Family Musical Theater which will include The World Goes Round, Annie Get Your Gun, Company, and Little Shop of Horrors.
The Repertory Theatre of St. Louis
March 18 – April 22, 2009
Reviewed by Chris Gibson
Robert Louis Stevenson's novella, The Strange Case of Dr. Jekyll and Mr. Hyde (1885), has been the subject of countless stage and screen adaptations since it's publication. Seven years before Freud and Breuer published their first paper on “hysteria”, the Scotsman was examining the duality of man, and writers have been producing their own “twists” on his story ever since. The Repertory Theatre of St. Louis's current production opts for chills more cerebral than visceral, as playwright Jeffrey Hatcher attempts to reinvigorate this well plumbed tome.
Though the story is a familiar horror staple, the original tale is actually more psychological in tone than most remember. Jekyll is portrayed as a good man, and a knowledgeable scholar and surgeon, but he's smug in his beliefs, and given to fits of outrage at the ineptitude he finds in the teachings of chief surgeon, Sir Danvers Carew. His secret desires are unleashed when he concocts a potion that releases his darker side; in the murderous form of Edward Hyde.
Anthony Marble gives a strong and sturdy performance as Henry Jekyll, but he really doesn't get to let loose until the end of the play, when Jekyll can no longer control Hyde's re-emergence. It's during these scenes that Marble gets to open up, with a less restrained approach. Anderson Matthews is very good as Jekyll's solicitor, Utterson. Matthews displays a fatherly concern in his main role, and displays the right raspy vocal touch as one of Edward Hyde's many incarnations.
Scott Schafer takes on several parts, but is especially memorable as Sir Danvers Carew. After Jekyll berates his teachings in front of a class of students, he seeks recompense, but doesn't count on getting his skull bashed in by an enraged Mr. Hyde, instead. Kyle Fabel is sympathetic and amusing as Jekyll's school chum, Lanyon. He's also quite good playing Hyde for the lion's share of the time.
Katie Fabel is attractive as Elizabeth Jelkes, a chambermaid who crosses paths with Hyde when he nearly tramples her little sister. Fabel is fine in the part, but it's a superfluous and underwritten role, added to provide a twist. Hatcher follows the standard convention that nearly every writer has in adapting this work; he adds a love interest. But, the spin here is that the girl isn't in love with Jekyll, she's in love with Hyde. Which would be fine, if it was believable, and developed properly.
Bernadette Quigley is miscast as Jekyll's servant Poole, and as another embodiment of Hyde. I have no qualms with the part being cast against gender lines, but Quigley adopts a gruff voice for both parts that's distracting at best.
Edward Stern directs with a keen eye toward keeping the action, and the actors, stylized to an almost formal degree. And, I wonder if this play wouldn't be better served by eschewing an intermission. It would certainly allow the tension to build and climax in better fashion.
Stray Dog Theatre
Through March 28, 2009
Reviewed by Chris Gibson
The appeal of having a dog as a pet should be obvious to most. There's certainly nothing that warms the heart more than the unconditional love they offer their owners. And, the genuine affection they deliver, coupled with their keen attentiveness, makes them an ideal companion. So, it's interesting that A. R. Gurney's play, Sylvia, explores what happens when one is suddenly introduced into a marriage that is at a crossroads after twenty-five years. Stray Dog Theatre is presenting a wonderfully performed and directed production of this work as part of their workshop series.
Paris McCarthy is just terrific as Sylvia. She adopts an almost balletic grace to her movements that nicely conveys her animal instincts. And, she perfectly captures the constant emotional shifts she's experiencing as well.
Larry Dell amuses as Tom, a fellow dog enthusiast with a philosophical bent that Gregg meets in the park; Phyllis, a family friend who sympathizes with Kate's plight; and Leslie, a marital counselor who's experimenting with gender identification.
Lana Pepper does a fine job directing this production. The pace rarely lags, and the actors seem focused and assured, for the most part. Jay Hall's set design is functional, and nicely appointed. Gary Bell's costumes are appropriate, but I think a pantsuit would work better for the part of Leslie, rather than the eclectic ensemble that's utilized.
A. R. Gurney packs a lot of ideas into Sylvia, and some succeed better than others. There's also an inconsistency in the tone, and in the way that Sylvia's verbalizations are handled. Sometimes the characters are conversing as if they completely understand her, and other times they seem to be interpreting the unintelligible vocalizations of an animal. Irregardless, Sylvia is a humorous and surprisingly touching work.
The Repertory Theatre of St. Louis
February 11 – March 9, 2009
Reviewed by Chris Gibson
William Gibson's classic play, The Miracle Worker, is a compelling and intense piece. And, it's success or failure is also greatly dependent on the caliber of actors who are performing in it. Rest assured, the casting of The Repertory Theatre of St. Louis is exemplary, making this production a satisfying and moving experience that's well worth your time.
Though not born deaf and blind, Helen Keller contracted an illness early in life that left her that way. Treated more like a pet than a actual daughter by her family, their abuse was more in the way they rewarded her bad behavior, spoiling the child, and stunting her growth in process. The arrival of Annie Sullivan, a teacher intent on reaching Helen by teaching her language, brings the promise of change. But she faces a test of wills, both with the Keller family, for her unusual methods, and with Helen herself.
Amy Landon commands attention as Annie Sullivan. It's really as much her story that's at the heart of this play, and Landon captivates with her Irish resolve. She's well matched by the work of young Olivia Jane Prosser (the part alternates with actress Hannah Ryan) as Helen. Their scene in the dining room at breakfast, where Annie refuses to allow Helen to continue to graze upon everyone's plates, is physically and emotionally exhausting.
John Rensenhouse is strong as Captain Keller, the family matriarch. He's reluctant to go along with Annie's ideas, especially when they involve having Helen removed from the house, but he's consistently won over by her persistence. Krista Hoeppner is sympathetic as Kate, Keller's wife. She's supportive of Annie's efforts, but unwilling to give up her role as mother.
Matthew Carlson gives Keller's son, James, a sarcastic edge that masks the pain he feels from failing to gain his father's acceptance. Jerry Vogel is warm and lovable as Mr. Anagnos, the teacher who has prepared Annie for her journey to the Keller's Alabama homestead.
A terrific supporting cast includes: Donna Weinsting, Monica Parks, Jarret D. Harkless, Ashlee Marnae, and Murray as the family dog.
Susan Gregg's assured direction finds the emotional core in this riveting play. Having been familiar with this play since I read it as a child, it was interesting to see the revisions that have occurred to quicken the pace, and excise any redundancy. John Ezell's scenic design is superlative, with his movable two-story construction of the Keller home being particularly impressive. Michael Philippi's lighting heightens the drama in an effective manner. Tom Mardikes's sound bites for the thoughts racing through Annie's head are difficult to hear at times.
The Repertory Theatre of St. Louis's production of The Miracle Worker continues through March 8, 2009 on the main stage of the Loretto-Hilton. Call 314-534-1111 for ticket information.
The Repertory Theatre of St. Louis
Through February 8, 2009
Reviewed by Chris Gibson
I know I can always count on the Rep's studio series to provide me with something dramatic, intimate and unique. David Harrower's compelling work, Blackbird, fits that description perfectly, providing an evening of intense entertainment that consistently confounds your expectations. It's an example of the type of "challenging" theatre you're always hearing or reading about, but rarely encounter anywhere else.
When Una was 12 she was violated by a forty year old man. That man, Ray, served prison time for the offense, and underwent the same sort of treatment in prison that anyone who'd abused a child would undergo. As time passed Una went through her own cycle of hell. The shame she was made to feel was undeniably worse, since she was the victim here. So, perhaps it's a sense of closure, or a demand for reparations for damages, that causes her to seek out Ray, now named Peter, after 15 years have passed.
Carmen Goodine gives an amazing performance as Una. At first, we think she's just there to cause Ray trouble, as she unleashes her wrath, confronting him in his new life and forcing him to explain his actions to the grown up girl he essentially raped. She's bitter because he's stable now, even after being incarcerated, and she's still an emotional wreck with scars that may never fully heal. As the truth is revealed, we literally see her regress to a preteen, as she lets her hair down, kicks off her shoes and lets her feet dangle over the edge of a table. Goodine is exceptional here.
She's matched by Christopher Oden, who gives Ray a kind of world weary, and yet controlled, desperation. He's been trapped at work, where no one suspects his past, and now it's all come back in one fell swoop. You can feel his pain as it all comes crashing down around him again. Oden manages to elicit a degree of sympathy and understanding that's difficult given material that makes his character appear to be a pedophile of sorts. But, that's the beauty of this play, it makes you question whether these matters are ever as cut and dry as they seem. Ray's certainly not Humbert Humbert from Nabokov's Lolita, but he's not above reproach either. Above all, he's he guarded and protective about how much he's willing to reveal about himself, and Oden walks this fine line credibly.
Director Amy Saltz does terrific work with this material, utilizing the rectangular shape of the stage set up to keep the audience locked in and focused. At times, it's like a tennis match as we're constantly shifting from one character's line of dialog to the other character's reaction. Luke Hegel-Cantarella's scenic design and Mary Jo Dondlinger's lighting expertly captures the look and feel of an office break room, complete with harsh florescent lighting and a wall of lockers. Blackbird is a show to talk about and discuss with your friends. It sparks a debate with it's themes and characters, and that's what good theatre is supposed to do.
The Repertory of St. Louis's provocative and engaging production of Blackbird continues in the Studio Theatre at the Loretto-Hilton through February 8, 2009. For more information, or to purchase tickets, go online to www.repstl.com.
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Saint Joan
The Repertory Theatre of St. Louis
January 7 – February 1, 2009
Reviewed by Chris Gibson
Irish playwright George Bernard Shaw is given an excellent showcase in the Repertory of St. Louis's current production of Saint Joan. Shaw's script from 1923 tackles the familiar story of Joan of Arc, imbuing the tragic tale with an undeniable sense of humor along the way. Though historians will debate the accuracy of the events portrayed here, Shaw does adhere closely to the transcripts available, even if he could be accused of "humanizing" the villains of the piece. A top notch cast works the material with precision, carefully and thoughtfully savoring Shaw's verbiage.
Tarah Flanagan is well cast as Joan. Her diminutive stature and boyish haircut aside, it's her plucky enthusiasm and endearing innocence that bring the character to life. Her unwavering belief in what the voices tell her never seems contrived, or attributable to the ravings of an unstable mind. She's well matched in the presence of Tuck Milligan as her inquisitor, Peter Cauchon, Bishop of Beauvais. His outrage at Joan's unwillingness to recant her position is nicely balanced against his desire to save her body, and soul, from the ravages that will occur if she fails to comply.
A large cast, with many of the actors playing dual roles, delivers exceptional support. Bobby Steggert is amusing as Charles, the Dauphin (soon to be Charles the Victorious), giving his "boy who would be king" a petulant and cowardly countenance. Jerry Vogel is quite good as the Squire who first allows Joan to follow her destiny, and later as a promoter at her inquisition. Jason Cannon makes a strong impression as the gung-ho Captain Le Hire, and as the ghost of an English soldier who's taking a day off from Hell.
John Rensenhouse makes a compelling argument on behalf of his fellow feudal lords as Richard de Beauchamp. His attempts to sway the church in his favor are aided by the misguided efforts of Chaplain John de Stogumber, effectively played by Christopher Gerson. His revelation is at the core of the plot, and Gerson manages to make his zealot pitiable. Kevin Orton makes Jack Dubois a lovable rouge as he instructs Joan on military strategy. Matt D'Amico is adept as both the heroic, but simple minded Bertrand, and the overly pious Brother Martin.
Director Paul Mason Barnes keeps the action moving with the scenes flowing seamlessly into one another, but some of the staging leaves actors with their backs to large sections of the audience for extended periods of time. Robert Mark Morgan's scenic design features a curved Gothic arch which looms over the proceedings, reinforcing the sense of religious oppression. Peter Sargent's lighting neatly enhances the mood and set. Costume designer Dorothy Marshall Englis does fine work recreating the period.
The question of whether Joan truly heard the voices of angels, or was simply listening to her own inner voice, or suffering from some sort of mental disorder, will probably never be answered. If the themes presented still don't seem to resonate with you, then consider the stories that circulated regarding President Bush's claim that God told him to go to war. How would Joan be treated today?
Modern audiences would probably prefer that the play, described as "six scenes and an epilogue", end after Joan's fiery death at the hands of her English captors, but the epilogue offers a look at how time distorts popular opinion, and it lightens the mood of the piece considerably as Joan's accusers offer their belated capitulations.
The Rep's production of Saint Joan continues through February 1, 2009 at the Loretto-Hilton. For more information go online to www.repstl.com.
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The Repertory Theatre of St. Louis
November 26 – December 28, 2008
Reviewed by Chris Gibson
The classic film It's a Wonderful Life is brought to the stage of the Loretto-Hilton in a unique presentation, re-titled as This Wonderful Life, that finds one actor taking on all the roles. Mark Setlock's self-professed love of the movie-witnessed by his ability to recall and recite entire scenes of dialog- led him to collaborate with writer Steve Murray on an adaptation that condenses 130 minutes of screen time into ninety minutes of pure fun. It's a tremendous undertaking with the plethora of diverse characters that parade through this venerable work based on Philip Van Doren Stern's story "The Greatest Gift", but Setlock is more than up to challenge. The Repertory of St. Louis's production is a wonderful, heartwarming and hilarious production sparked by Setlock's bravura performance.
Film director Frank Capra and a team of screenwriters shaped the piece into something that's inadvertently become a holiday staple. Frequent television airings, and the appearance of cheap copies that came out on videotape and DVD during the 80's and 90's, when it became a public domain title after the copyright was allowed to lapse, have ensured that a larger amount of people have been exposed to its charms in recent years, than those who saw it when it was first released. I remember being able to view it at different points in the story by simply changing from one channel to another during one particular Christmas weekend.
Essentially the story of a selfless man named George Bailey, who never realizes his dreams to travel the world because he's too busy coming to the rescue of everyone else. But, he finds true happiness in the generosity of his large circle of family and friends. If you've never seen the movie before it really doesn't matter since the story is easy to follow, with the script including plenty of asides and commentary to better explain the motivations and situations the characters are dealing with. In the end this approach allows for a deeper and finer understanding of just how noble these folks are.
But, I've strayed from the plot, which finds George on the brink of suicide when the Bedford Falls Savings and Loan comes up short in the coffers due to Uncle Billy's forgetfulness. He's saved by an angel named Clarence who lets him see his impact on those around him by making his wish to have never been born come true. By now that device has been a cliché, but you have to remember its novelty at the time.
Setlock is a marvel, and his interpretations of each character show his affection for the source material. His George Bailey has the halting cadence and "aw shucks" demeanor of Jimmy Stewart's portrayal without being a direct imitation. His take on the evil Mr. Potter conjures up the twisted image presented by Lionel Barrymore. Thomas Mitchell, who excelled at playing drunks is also given his due with Setlock's expert rendering of Uncle Billy.
The female roles find Setlock mining the material for comic gold. Gloria Grahame's vampy Violet Bick becomes a riot of overstated allure, positively dripping with sexuality. George's wife Mary, played with doe-eyed innocence by Donna Reed, is a model of strength and shyness, yet Setlock somehow manages to imbue her with a sharp sense of humor as well.
But, it's with Bedford Falls' lone ethnic stereotypes that Setlock really hits his stride. His simple and sassy version of Annie, the Bailey's black maid, is succinct and priceless. The wildly funny gesticulations of Italian bar-owner Giuseppe Martini are an example of the politically incorrect interpretations common to 1940's Hollywood fare. Setlock explores this issue, makes a pointed comment on it, and then milks the situation for maximum laugh potential.
The Repertory Theatre of St. Louis
Reviewed by Chris Gibson
I'm always searching for a theatre experience that's challenging and provocative. More often than not, I have to settle for more conventional material. But, the Rep's Off-Ramp production of Martin McDonagh's brilliant work, The Lieutenant of Inishmore, satisfies completely with a shocking mix of gore and humor one can only refer to as a "splat-stick" comedy.
Padriac is a terrorist in Ireland by trade, a member of a splinter group of the IRA (he was too extreme for them-so they rejected his application) who finds delight in the torture of petty criminals and the bombing of chips shops. He's left his cherished cat, Wee Thomas, in the care of his father. But, one day a local lad, Davey, finds the damaged remains of the battered feline lying in the roadway. Padriac returns home to wreak havoc on those responsible for this tragedy, but runs into another splinter group bent on his demise. To reveal any more of the plot would spoil the dark charms of it's many twists and turns.
David Whalen amazes as Padriac, veering wildly between madness and sentimentality as the story dictates. It's an intense performance that builds over the course of the action. Matt Decaro impresses as his oafish father Donny, who tries to place the blame on Davey, and who also attempts to cover up the truth by coating another cat in black shoe polish in order to fool Padriac. Dan McCabe is a riot as Davey, a long haired lad who runs afoul of Padriac. Keira Keeley is a marvel as his sister, Mairead. She idolizes Padriac, toting around a pellet gun and firing with deadly accuracy when called upon to do so. Keeley invests herself fully in the role, and it's a captivating performance.
Christopher McHale, Sean Meehan and Keith D. Gallagher provide additional comedy relief and conflict as members of another splinter group, and the actual perpetrators of Wee Thomas' murder. Their bickering is priceless, with their logical dissertations in complete contrast to their thuggish behavior. It's a common trait among the characters in this play, and it's part of what makes it so engaging, despite it's violent and disturbing action.
Stuart Carden's direction is stellar. The action and the acting are intense and compelling throughout. Carden is aided by a terrific open-air set design by Gianni Downs, that depicts the ramshackle abode of Padriac's ancestry amidst a rocky Irish coastline. Jim French's lighting adds drama and Pei-Chi Su's costumes are a perfect fit. Steve Tolin's effects work is simply outstanding, with copious amounts of blood and body parts crafted skillfully and effectively.
To focus solely on the more violent aspects of McDonagh's play is to do it a disservice. The laughs and blood flow freely in this stunning and engaging production.
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Sweeney Todd, the Demon Barber of Fleet Street
The Fabulous Fox Theatre
Reviewed by Chris Gibson
Banished by a trumped out charge to Australia, barber Benjamin Barker returns to his native soil to seek revenge on those who wronged him and his family under the guise of Sweeney Todd. He begins his career anew in a shop above the home of the worst meat pies in London. Mrs. Lovett, has her own suspicions about Todd, but finds a use for his murderous leftovers that leave both satisfied. He cuts a bloody swath through those who wronged him while searching for the daughter he left behind, who wound up a ward of the judge who condemned him.
Merritt David Janes is powerful and brooding as Todd. He plays Todd with a malevolent passion that commands your attention, from his opening appearance rising from a coffin during “The Ballad of Sweeney Todd”, to his eventual comeuppance at the hands of an unexpected assailant. He has a strong voice, and contributes nice work on muted trumpet and finger picking acoustic guitar as well. Carrie Cimma is impressive as Mrs. Lovett, his partner in crime. Her brash countenance livens up the proceedings considerably, providing welcome comic relief in an otherwise grim saga. Her take on “The Worst Pies in London” is a self-deprecating scream. She's also playful on occasion as witnessed during “By the Sea” as she contemplates an idyllic, albeit still slightly twisted, life as Todd's wife. Her bits on euphonium and percussion also act as amusing highlights.
Duke Anderson is very good as Anthony, a sailor who rescues Todd and returns him to England. He falls in love with Todd's daughter, delivering the lovely melodic tune, “Johanna”, as he professes his love. His paramour, and fellow cellist, Wendy Muir does excellent work in the role, and offers up a solid soprano voice as well. Patty Lohr is properly bedraggled as a beggar woman with a secret, and also performs on clarinet.
Strong support is also given by a group of exceptionally talented actors/ musicians, including: Bob Bohon (clarinet, keyboard) as Beadle; Matt Cusack (bass) as Jonas Fogg; Chris Marchant (violin, clarinet, flute and keyboard) as Tobias; David Alan Marshall (trumpet, percussion) as the insidious Judge Turpin, who has eyes for his own ward; and Ruthie Ann Miles (accordion, flute, keyboard) as rival barber, and first victim, Pirelli.
Adam John Hunter faithfully recreates John Doyle's original staging for the 2005 re-imaging. It's a masterpiece of choreography and blocking that keeps the actors moving and performing with unbelievable grace and ease, despite their multi-tasking. David Fiorello's musical direction captures the dissonance and harmony that are fighting for dominance in Sondheim's brilliant score. These arrangements really crackle with an intensity missing from the full-blown version. Paul Miller's moody lighting really works well with John Doyle's stark design. Shannon Slaton's sound gives the play a sonic depth, with jarring effects that jolt the audience out of their seats.
The Fabulous Fox Theatre
Reviewed by Chris Gibson
A wonderfully talented touring company landed at the Fabulous Fox Theatre (October 21 – November 2, 2008) for a run of the musical version of Alice Walker's novel, The Color Purple. While my expectations were admittedly low (I had a hard time slogging through the movie), I was pleasantly surprised by just how much I enjoyed this tale. Outstanding performances and clever, catchy music drives this story of Celie and her incredible journey through life.
Sisters Celie and Nettie are separated when the latter is sent to become wife and mother to a hard nosed farmer and his brood. Celie had already given birth to two children from her stepfather, but they'd been taken away from her. Nettie ends up in Africa as missionary, but Celie isn't allowed to see the letters she has sent. Celie's husband, who she only knows as "Mister", settled for her when it was made clear her sister was considered too good for him. But, he pines for Shug Avery, a glamorous creature who's broken more than a few hearts along the way. The twist here is that a love triangle is formed between the three of them, as Celie and Shug share an intimate encounter that changes them both. Events transpire over the course of time, with Celie eventually finding happiness, even though there are many heartaches along the way.
Jeannette Bayardelle is simply amazing as Celie, portraying her across several decades with ease. Her vocals are strong as well, captivating the audience with songs like "Somebody Gonna Love You", "What About Love" and "I'm Here". Rufus Bonds, Jr. is very good as Mister, and though he's hard to take at first, even his character changes over time. His signature song, "Big Dog" is a great tune with clever rhythmic hook. Angela Robinson has the necessary sex appeal to carry the part of Shug, and she also has the voice to carry numbers like the delicate tune "Too Beautiful for Words", and the funky song "Push Da Button".
Standouts in support include: scene stealing Felicia Fields as the daunting Sofia, who delivers a show stopping take on "Hell No", her answer to anything she takes offense to; LaToya London as Nettie; Quentin Earl Darrington as Celie and Nettie's hard hearted stepfather; and the Greek chorus of church ladies played by Kimberly Harris, Virginia Woodruff and Lynette Dupree, who offer their amusing commentary in musical form.
Marsha Norman's script neatly condenses the action in the novel and tones down the violence. The terrific music and lyrics of Brenda Russell, Allee Willis and Stephen Bray runs the gamut from gospel to blues and even swing, snuggly fitting each mood presented.
HotCity Theatre
September 19-Oct. 4, 2008
Reviewed by Lucy Moorman
The play Killing Women is not about mercenaries killing poor, defenseless women. It’s a dark comedy about women themselves being the killers. In this case, they are professional assassins. Well, really one of them is a wife and mother named Gwen who blows her husband away when she catches him cheating on her. It turns out she’s a sharp-shooter, a dead-shot so to speak.
Then there’s Abby who is the toughest and most likely to succeed in a high-level assassin job. Trouble is she finds out the next in line for a promotion is …you guessed it… a male. The man in charge, Ramone, is a scoundrel who is not sympathetic to women’s equality and not a very nice person.
So Abby takes it on herself to "train" a couple of other women in the fine art of murder to convince her male boss that women can do this job as well as men. Her first student is "Lucy" who really enjoys having a relationship with her assignment before she "offs" him. She also doesn’t like guns so she resorts to injections in the neck while she distracts him with a passionate kiss.
Abby then tries to train housewife Gwen, who doesn’t seem to have any problem with the killing part—it’s the disposal of the body she doesn’t like. So Abby is left to finish the job as she drags the body across the stage while her "boyfriend", another assassin doesn’t help her.
All in all, the Killing Women stand together at the end and all refuse to kill each other even at the insistence of the "boss man" so no women were killed in the making of this story. They only kill men, their husbands, boyfriends or bosses.
The ending was implausible. Tough Abby becomes the babysitter looking after Gwen’s daughter with her love interest while Gwen herself, the sharp shooter, is promoted to the new boss. Lucy continues to seduce before she kills.
The best scene was the three women learning to do injection murders with Gwen proving she can practice injections in both her arms since she is ambidextrous while tough girl Abby passes out in the chair due to fear of needles.
Fiddler on the Roof
August 2008
Reviewed by Lucy Moorman
"A Fiddler on the roof. Sounds crazy, no?" How about opening night for this production at the Muny Opera on a sweltering hot St. Louis August night—probably the hottest night so far? Crazy! How do the performers do all those dances with heavy clothes and coats on? I’ve heard the Muny stage is air-conditioned. Is that possible? Perhaps the performers might wear ice packs under their clothes.
What ever they do, I didn’t see anyone keel over from heat exhaustion. They put on a fine performance in spite of the heat. It was a traditional "Fiddler" about tradition and how life changes anyway, no matter how hard you try to control it. Tevye, the father of five daughters, learns this each time one of his daughters decides to choose their own mate (potentially putting the matchmaker out of business.) The musical’s title is a metaphor for survival in a life of uncertainly and imbalance. Tevye says "You might say each one of us is a "Fiddler on the Roof." "The Fiddler" has an impressive history of winning nine Tony awards for best musical.
This performance was great, well danced, well sung and well acted. I especially enjoyed Scene 7, "The Dream" in which the butcher’s previous wife who is deceased returns in the form of a ghost in long flowing skirts on stilts (in this heat!) to threaten Tevye not to let his oldest daughter marry the butcher—a scene that Tevye cleverly makes up so his wife, Golde will accept the daughter marrying the poor tailor instead. (They gave each other a pledge. Unthinkable! Unheard of!)
Only a couple of snags; the daughters couldn’t get the house to open up in the first scene but it finally did and sometimes the mics weren’t on at the right time. These are issues of opening night that I’m sure were ironed out later in more pleasant weather. In the grand tradition of the Muny Opera in the sometimes oppressive heat of St. Louis, this was truly a pleasant note to end on. I applaud and enjoyed the final show of the Muny for the summer.
Next summer will be here before you know it. We can look forward to a new season at the Muny Opera.
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Mamma Mia!
The Fabulous Fox Theatre
Reviewed by Chris Gibson
"Jukebox musicals" are proliferating at an alarming rate, with any number of rumored productions being discussed. We've already seen Elvis (Elvis, The Musical), The Beatles (Beatlemania!), The Beach Boys (Good Vibrations) and Frankie Valli and the Four Seasons (Jersey Boys) immortalized on stage with varying degrees of success. But, my personal favorite continues to be that frothy concoction that utilizes the undeniably catchy music of Swedish 70's supergroup ABBA, Mamma Mia!. Arriving with it's film premiere just around the corner (July 2008), a pretty solid touring company landed at the Fox for a week's run (June 3rd - 8th, 2008)
Catherine Johnson's plot is wafer thin, but filled with good humor. It concerns Sophie Sheridan's desire to have her father attend her upcoming nuptials in Greece. The problem is that Donna, her mother, had a fling with three different men some 20 years ago, and doesn't know which of them is the culprit. So, Sophie invites them all, with the hope that the truth will be revealed, and she'll be given away properly on her wedding day. The complication here is that Sophie gleans this bit of knowledge from her mother's diary, and doesn't bother to let her know that her former lovers are going to show up at her doorstep at any moment.
Rose Sezniak makes a lovely and appealing Sophie. She has a clear and beautiful voice that fits the material like a glove. Her opening number during the prologue, "I Have A Dream" sets a sweet and inviting tone for the evening. She's aided in her deceit by her friends Ali and Lisa, winningly played by Rebecca Covington and Nicole Laurenzi. Their run through "Honey, Honey" as Sophie quotes from the purloined diary is especially amusing. Geoffrey Hemingway is a nice match as her fiancée Sky, and shines vocally when he invites Sophie to "Lay All Your Love On Me".
Susie McMonagle is Donna, the long-suffering single mother with a chip on her shoulder, who's about to have her world turned upside down. Donna runs a floundering, but afloat taverna on a Greek island, and has tried to forget her past, but it's all come back in one fell swoop. McMonagle is certainly attractive, but her voice is just a tad weak in spots, though this was covered nicely by conductor Susan Draus and the sound crew. She does deliver a particularly strong versions of "The Winner Takes It All" during a bitter encounter with her former flame, Sam.
Kittra Wynn Coomer and Michelle Elizabeth Dawson are a riot as Donna's friends and former bandmates, Rosie and Tanya. Dawson contributes nicely with "Chiquitita", as she implores her friend to open up about her life and problems. Coomer puts a sexy charge into "Does Your Mother Know", as she rebuffs the advances of the much younger barkeep, Pepper. Their group performances on "Super Trooper" and "Dancing Queen" are highlights, complete with resplendently tacky spandex costumes.
As potential father number one, Martin Kildare fares well as Aussie adventurer and writer, Bill Austin. His reaction to Tanya's advances as she asks him to "Take A Chance On Me" are priceless. Michael Aaron Lindner is very good as father number two, the former "Head Banging" Harry Bright. Lindner's infectious enthusiasm brightens an already cheery show considerably. His work on "Our Last Summer" with McMonagle drew laughs with it's hippie and reefer references. And, his duet with Sezniak on "Thank You For the Music" was actually touching. Only father number three, John Hemphill comes up short as Sam Carmichael, the most likely suspect, and the only one Donna ever truly loved. But, Hemphill takes the part much too seriously. This isn't heavy drama after all, and a lighter approach would be much more appropriate for the material.
Additional support and comic relief is provided by Adam Michael Kaokept as Pepper and Anthony Cefala as Eddie, a pair of horny taverna employees.
The show probably peaks right before intermission, with a bachelorette party that finds all three men volunteering to walk Sophie down the aisle propelled by the strains of "Gimme!Gimme!Gimme!(A Man After Midnight) and "Voulez-Vous". But, it's a fun ride to the finish, and nothing turns out the way you expect it to. And, you'll definitely want to stay for the mini-concert finale which features rousing renditions of "Mamma Mia!", "Dancing Queen" and "Waterloo".
Phyllida Lloyd's direction (she's helming the big screen adaptation as well) is stellar with a pace that rarely lags and seamless transitions between scenes. The tempo is aided by the clever two-piece design of the taverna which can be rotated and lit in any number of ways to suggest a scene's locale. Anthony Van Laast's imaginative choreography adds to the fun, with the emphasis on humor, such as a dance number performed in swim fans. Martin Koch's musical arrangements give the songs a huge sound that makes the original recordings seem thin in comparison. And there's just no way you can get that opening riff from the title track out of your head (no matter how hard you try). Howard Harrison's lighting scheme shifts effortlessly between scenes and moods.
Pippin
Kirkwood Theatre Guild
May 2-10, 2008
Reviewed by Lucy Moorman
Pippin is a musical about a young prince, the son of King Charlemagne who is searching for meaning in life as he sets out to explore the world.
Rivers belong where ramble
Eagles belong where they can fly
I’ve got to be where my spirit can fun free
Got to find my corner of the sky
Kirkwood Community Theatre produced this large event with a seeming cast of thousands, (okay maybe it was only twenty but on a small stage it looks like thousands). There were many songs, dancing, and much frivolity. It took two actors to fill the shoes of Ben Vereen, the role that made him famous, as "The leading players." The player’s role could be described as a muse or more like a personal coach. "Yeah, Pippin, You’re on the right track."
Overall, it was a big undertaking in which they overplayed the gay card a little. I was afraid that Pippin’s half brother Lewis (as well as one of the players) was going to throw his back out with all that sashaying.
I was pleased to hear Catherine, Pippins’ love interest, had a delightful singing voice.
Pippin was charming in a bewildered lost puppy kind of way. He could have used a little more energy and a stronger singing voice. King Charlemagne had a good strong voice and was believable as a king. I thought the best numbers were "War is a Science" and "No Time at all." Good delivery on those two productions carried more punch. Also good job on the stage design and lighting.
Still, for a large scale production with lots of music and dance during the reign of King Charlemagne, it’s a valiant undertaking. I’m amazed at how actors can keep performing night after night simply for the gratification of acting and the great appreciation of a mostly gray-haired audience.
Reviewed by Lucy Moorman
February 12-24, 2008
Although it was a cold, blustery February night, I was surprised to see a good crowd at the Fox theatre where Avenue Q is playing February 12-24. Avenue Q is sort of an adult version of the children’s show “Sesame Street.” It features actors carrying puppets who interact with each other although not everyone has a puppet. Some actors are puppetless. At first, I found the puppets distracting but the actors are making the same gesture as the puppets so soon they become one unit and blend together.
The story starts off with various characters from the neighborhood singing and dancing about how their lives suck. The plot centers around several main characters who are looking for love such as a young woman and a new male neighbor, two male roommates who haven’t come out of the closet as gay men yet, and a mixed race couple who are struggling to find jobs and make ends meet. Actually all the characters are looking for their “purpose.” This is featured by large video screen dropping from the ceiling and showing short animations of purpose related topics.
There are plenty of songs in this musical such as “The Internet Is for Porn,” “It Sucks to Be Me,” “Everyone’s a Little Bit Racist,” and “I’m Not Wearing Any Underwear Today.” You get the general idea. I especially enjoyed the “Bad Idea Bear” puppets who would suggest in the sweetest possible way the worst possible choice such as buying and drinking a case of beer when you have no money or job or sleeping with someone on the first date, etc.
There isn’t much dance in Avenue Q but there are puppets that are having graphic sex (only from the waist up.) This is not a show for prudes but if you just want some rowdy light-hearted fun, it’s an enjoyable experience. The stage was nicely done with windows lighting up during certain sequences and the acting, singing and lighting were all very professional.
In the end, the characters all discover who they truly are, find love and most find their “purpose” through helping or giving to others. As a reminder to not take life too seriously, the message of story is summed up by the closing song “Everything in Life Is Only for Now.”
