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Tell Me On a Sunday
Music by Andrew Lloyd Webber
Lyrics by Don Black and Richard Maltby, Jr.
Directed by Mike Dowdy-Windsor
New Line Theatre
August 13, 2016

Sarah Porter Photo by Jill Ritter Lindberg New Line Theatre

Sarah Porter
Photo by Jill Ritter Lindberg
New Line Theatre

Tell Me On a Sunday is a challenging show. It’s a one-woman production, and a musical at that, with many songs and no spoken dialogue. It tells a story entirely through song, and it requires a personable actress with a great voice and loads of stage presence. New Line Theatre has chosen the right performer in veteran New Liner Sarah Porter, who brings a lot of energy and heart to this memorable score and intriguing story.

The one-act musical follows the story of Emma (Porter), an English expat living in the United States. Spending time mostly in New York with a short detour to Los Angeles, Emma navigates her way through culture shock, a quest for her Green Card, and a series of relationships with a variety of men. The events are punctuated with a succession of letters to her mother, in which Emma tries her best to explain her emotions and  her thought processes. She also sings to the audience, who serve as stand-ins for various people in her life, from her boyfriends to curious and sometimes gossipy friends. It features a memorable score with some well-known songs such as the melancholy title song, the ballad “Unexpected Song”, and the confrontational “Take that Look Off Your Face”.

Porter handles the songs and story with excellent range, in both singing and acting. She brings the audience along on Emma’s emotional journey, exploring the discoveries of new love, exploring a new country, and issues of personal identity and dependence in her successive relationships. The songs range from happy to humorous, wistful to angry, and Porter not only delivers the material with strength and energy–she presents the character with all of her degrees of complexity, making her at once intriguing and relatable. This is one of those “showcase” type of shows, giving the performer a chance to shine throughout the entire duration of the show, and Porter certainly does shine. It’s a remarkable performance, played out with an impressively believable English accent, as well.

Porter notably also designed the costumes for this production, excellently. She changes outfits several times throughout the show, and each one is well-chosen for each particular moment, reflecting Emma’s personality and her journey of self-discovery. There’s also a richly decorated set and lighting by Rob Lippert that sets the tone and mood of the production well, from the New York scenes to the brief sojourn in LA. Due credit should also go to props master Kimi Short, Sound Designer Benjamin Roseman, and dialect coach Laurie McConnell for their vital contributions to the production, as well as the entire technical crew.

 With all the songs and  no spoken lines, this is a show that could easily come across as more of a concert than a play, but thanks to the clever, dynamic staging of director Mike Dowdy-Windsor and Porter’s superb performance, that doesn’t happen here. This is a fully staged, fascinating story, centered around a complex character who is learning about herself as she learns about her world and her relationships. There’s a lot to talk and think about, as well as some real humor and drama. It’s not a long production, running at just over one hour, but it’s a thoroughly engaging hour.

Sarah Porter Photo by Jill Ritter Lindberg New Line Theatre

Sarah Porter
Photo by Jill Ritter Lindberg
New Line Theatre

Tell Me On a Sunday is being presented by New Line Theatre at the Marcelle Theatre until August 27, 2016.

Aida
Music by Elton John, Lyrics by Tim Rice
Book by Linda Woolverton and Robert Falls & David Henry Hwang
Directed by Matt Lenz
Choreographed by Jon Rua
August 8, 2016

Cast of Aida Photo: The Muny

Cast of Aida
Photo: The Muny

It’s a musical based on the story from a well-known opera, with music by one of pop music’s most recognizable names. It’s set in ancient Egypt, but with a host of modern musical styles from pop to rock to gospel and more. The show is Aida, and it’s the last–and best–production of the Muny’s 98th season in Forest Park.

Aida is named after its central character, a Nubian princess (Michelle Williams) who has been captured along with others from her country as a result of a recent battle with Egypt. The Nubian captives are taken as slaves by the Egyptians, and Aida keeps her identity as a princess secret. The Egyptian captain, Radames (Zak Resnick), decides to present Aida as a “gift” to be a handmaiden for his betrothed, Pharaoh’s daughter Amneris (Taylor Louderman), although he and Aida are obviously attracted to one another. As their attraction grows, political intrigue also grows, as Radames’s unscrupulous father Zoser (Patrick Cassidy) schemes to get his son into power, against Radames’s own wishes. As the story continues, Aida and Radames are increasingly drawn to one another as Aida also develops something of a friendship with Amneris and also confides her secret to her countryman, Mereb (Wonza Johnson), another captured palace servant who wants to reveal her secret to his people. The warlike nature of society, the injustice of slavery and imperialism, roles and expectations of women, social pressures of marriage for political gain vs. love, and other issues are key elements in this story. It’s a love story ultimately, but not only about romantic love. It’s also about love for family, friends, country, and the desire for freedom to live and love as one chooses. The excellent songs by Elton John and Tim Rice portrays these themes with style and a variety of musical styles, ranging from pop to rock to gospel.

The cast here features several performers who have been involved in productions of Aida on Broadway, on tour, and in the last Muny production in 2006, including the excellent Michelle Williams, who previously played the title role on Broadway. She’s in excellent voice here and displays great stage presence and chemistry with Resnick’s conflicted Radames. Their duets are a highlight of the production. Taylor Louderman is also impressive as the initially superficial-seeming Amneris, whose ode to fashion “My Strongest Suit” is a musical and comedic tour de force. Louderman also does a great job portraying her character’s conflict and growth as a character. Also excellent is Johnson as Mereb, with a strong voice and a strong sense of conviction and loyalty to Aida and his people. There’s also a great performance by the Muny’s veteran Ken Page, reprising his 2006 role as Aida’s father, Nubian king Amonasro. Patrick Cassidy, who has previously played Radames on Broadway and on tour, does a fine job here in the somewhat cartoonish role of Zoser, although the vocals seem to be challenging for his range at times. The show also boasts a top notch ensemble, shining vocally and physically in stunning production numbers such as the Act 1 finale, “The Gods Love Nubia”. It’s a wonderful cast all around, telling the story with energy, emotion, and superb skill.

Technically, this production is also a stunner. The expansive, versatile set by Tim Mackabee evokes the Egyptian setting well, with pyramids, desert backdrops, and regal palace settings. Robin L. McGee’s costumes are superbly detailed, as well, suiting the characters well and evoking the time and place. There’s also fantastic lighting by Nathan W. Scheuer and video design by Matthew Young, transporting the audience to a somewhat stylized version of ancient Egypt.

Overall, this has been a good year for the Muny.  Unfortunately I didn’t get to see all of the shows this year, missing Fiddler On the Roof because I was out of town that week. Still, the Muny is in excellent hands with Executive Producer and Artistic Director Mike Isaacson, and this production of Aida closes out the season in spectacular fashion. It’s a poignant, musically impressive, visually stunning, superbly acted production. I hadn’t seen this musical, or the opera on which it is based, before, and I’m glad this first-rate production was my introduction to this story.

Taylor Louderman, Michelle Williams, Zak Resnick Photo: The Muny

Taylor Louderman, Michelle Williams, Zak Resnick
Photo: The Muny

The Muny is presenting Aida in Forest Park until August 14, 2016.

Julius Caesar
by William Shakespeare
Directed by Tom Kopp
St. Louis Shakespeare
August 6, 2016

Cast of Julius Caesar Photo: St. Louis Shakespeare

Cast of Julius Caesar
Photo: St. Louis Shakespeare

There’s a whole lot of plotting going on in Julius Caesar. Shakespeare’s tragic history play focuses on political machinations and personal loyalties in ancient Rome. St. Louis Shakespeare’s production fills the stage at the ornate Ivory Theatre, with a strong cast and a great deal of tension and intrigue.

Even though the play is called Julius Caesar, Shakespeare’s play focuses more on the key figures who surround the charismatic Roman leader, particularly his friend, the senator Brutus (Ben Ritchie), who is persuaded by the scheming Cassius (Maxwell Knocke) into joining the conspiracy to kill Caesar before he can become too powerful. Torn between his personal loyalty to his friend and his concern for the good of Rome, Brutus is the central player in the drama, which also involves omens, prophecies and dreams uttered by various characters from a Soothsayer (Josh Saboorizadeh) to Caesar’s wife Calpurnia (Annalise Webb). There’s also Caesar’s loyal ally Mark Antony (Brennan Eller), who is determined to see the conspirators brought to justice. It’s a play full of memorable speeches and well-drawn characters, bringing the stories of history to life by bringing a sense of immediacy to the proceedings.

The cast here is a large one, with several cast members playing more than one role. The staging is at once dynamic and intimate, with emotions and relationships given sharp definition in the memorable portrayals of the central cast members, anchored by Ritchie in an impressively measured performance as a thoughtful, reflective and conflicted Brutus. His scenes with Knocke’s angry, plotting Cassius are particularly dynamic. Eller makes a strong impression as Antony, as well, with a believable sense of loyalty, determination, and charisma, and Callahan is excellent as the regal, doomed Caesar. These standouts are also backed by a particularly strong cast portraying the conspirators and various Roman citizens, the roles being too numerous to list but all strikingly well-played, and staged with a buildings sense of suspense and ominous foreboding. The battle sequences are also memorably staged by Fight Director Erik Kuhn.

The stage at the Ivory is suitably transported to ancient Rome by means of Chuck Winning’s convincing multi-level set. The costumes by Liz Henning are suitably detailed and evocative of the time and place, as well. There’s also distinctive, haunting lighting by James Spurlock and excellent sound design by Robin Weatherall.

Julius Caesar is a play about politics and ambition, but portrayed a very personal sense. It’s an examination of motives and loyalties, and a complex character study and intense drama. The characters, drawn from history, are brought to life convincingly in St. Louis Shakespeare’s thoughtful, thought-provoking production.

St. Louis Shakespeare is presenting Julius Caesar at the Ivory Theatre until August 14, 2016.

Bat Boy: The Musical
Story and Book by Keythe Farley and Brian Flemming
Music and Lyrics by Laurence O’Keefe
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
August 5, 2016

Corey Fraine, Angela Bubash, Dawn Schmid, Patrick Kelly Photo by John Lamb Stray Dog Theatre

Corey Fraine, Angela Bubash, Dawn Schmid, Patrick Kelly
Photo by John Lamb
Stray Dog Theatre

Based on a story from a infamous tabloid, Bat Boy: The Musical is the darkly comic tale of a misfit child hidden away in a cave, and what happens when he’s discovered by the world around him. It’s a musical that started out off-Broadway and has become a modern cult classic, and it’s now on stage at Stray Dog Theatre. It’s the final show in STD’s current season, and it’s a well-cast, impressively staged production.

Stylistically, the show has essentially a sensationalist air, in the spirit of an over-the-top tabloid story like the one on which this is based. The influence of old-style “B” sci-fi movies is also apparent. Except for the main leads, most of the cast members play multiple roles of various ages and genders as needed. The title character (Corey Fraine) is originally found in a cave as two brothers and a sister (Michael A. Wells, Sara Rae Womack, and Lindsey Jones) are exploring. The initially wild “Bat Boy” quickly bites the sister, scaring the three siblings and sending their town into a panic of suspicion. The Sheriff (Josh Douglas) decides to take Bat Boy to the local veterinarian, Dr. Thomas Parker (Patrick Kelly), so the doctor can decide what to do, although he’s not home and his wife Meredith (Dawn Schmid) and daughter Shelley (Angela Bubash) meet Bat Boy first, and Meredith insists on taking the boy in and giving him a loving home, eventually persuading her reluctant husband to go along with her plan. Bat Boy is soon re-christened “Edgar” and, under the instruction of Meredith, Shelley, and Thomas, quickly reveals his intelligent and sensitive nature, although the townspeople still believe him to be a monster. Then there’s the matter of Thomas, who grows jealous of his wife’s attentions toward Edgar. As the townspeople gear up for a big tent revival meeting held by a visiting superstar evangelist (also Wells), Edgar and the various Parkers have dreams, concerns, and dilemmas to deal with.

The show has the exaggerated tone of tabloid television, with lots of comedy although there is also a tendency toward melodrama. The plot gets more and more sensationalized as it goes on, with elements of horror, forbidden love, “mad scientists”, religious themes involving conservative Christianity as well as ancient Greek mythology, and more thrown in for good measure. The “message” starts out being one of the need for acceptance and understanding of differences, but the themes get a little confused as the sci-fi horror elements are further developed. The music is a mixture of modern styles, with some memorable production numbers and ballads. The slightly over-exaggerated tone of most of the production is also portrayed well by means of Mike Hodges’s stylized choreography and Cara Hoppes McCulley’s colorful costumes, all staged on Robert J. Lippert’s detailed, evocative set.

The cast here is well-chosen and full of energy. Fraine as Edgar the Bat Boy gives a strong, sympathetic performance, with a strong voice and dynamic physicality. He’s well-matched by Bubash’s feisty Shelley and Schmid’s determined, slightly mysterious Meredith. Kelly is also excellent as the increasingly conflicted Thomas, and all four leads are in excellent voice. The rest of the ensemble, all playing multiple roles, is excellent as well, helping to maintain the comically melodramatic tone of the show.

Bat Boy’s  story may be on the ridiculous side, but it’s the kind of show that revels in its ridiculousness. With memorable characters, humor, and memorable music, it’s an entertaining and crowd-pleasing tale, very well told by this excellent cast and technical crew. It’s another memorable musical production from Stray Dog Theatre.

Cast of Bat Boy: The Musical Photo by John Lamb Stray Dog Theatre

Cast of Bat Boy: The Musical
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Bat Boy: The Musical at Tower Grove Abbey until August 20, 2016.

The Drowsy Chaperone
Music and Lyrics by Lisa Lambert and Greg Morrison
Book by Bob Martin and Don McKellar
Directed by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
July 27, 2016

David Schmittou Photo by Peter Wochniak STAGES St. Louis

David Schmittou
Photo by Peter Wochniak
STAGES St. Louis

The Drowsy Chaperone is apparently one of the most popular shows that STAGES St. Louis has produced. I didn’t see their last production, in 2009, nor had I seen any production of the show prior to this latest staging, although now I certainly can see the appeal. This is a tribute not only to “classic” 1920’s musicals, but to the whole concept of musical theatre in general. At STAGES, it’s a well-cast, richly produced, energetic and fun production that’s sure to entertain.

The show is a twist on the concept of the “play within a play”, as a protagonist and musical theatre aficionado identified only as Man in Chair (David Schmittou) introduces the audience to one of his favorite (fictional) musicals from 1928, called The Drowsy Chaperone. Man in Chair is a veritable fountain of information about this show, including anecdotes about the production and biographical information about the original cast members. As he plays the record, the show comes to life in his apartment, and what we see is broad, satirized representation of a typical 1920’s musical, complete with broad humor, a relatively thin plot, stereotyped characterizations, and lots of big, glitzy production numbers. The story follows the wedding plans of Broadway starlet Janet Van De Graaff (Laura E. Taylor) to a man she only recently met, Robert Martin (Andrew Fitch). Her boss, Feldzieg (Steve Isom) wants to keep her from getting married so she won’t leave his show, and ditzy chorus girl Kitty (Dana Winkle) hopes he will consider her as a replacement. There’s also the title character, the Chaperone (Corinne Melancthon), who is “drowsy” because she is constantly drinking, although she tries her best to offer sage advice to Janet. Other characters include would-be Latin lover Aldopho (Edward Juvier), who’s hired by Feldzeig to seduce Janet; the enthusiastic and slightly silly party host Mrs. Tottendale (Kari Ely) and her faithful butler and assistant known only as Underling (John Flack); and the optimistic Best Man, George (Con O’Shea-Creal), for whom tap dancing is the best solution to any problem.  It’s a big cast and a convoluted, extremely self-aware plot, as Man in Chair gets involved in the proceedings and expounds on his own philosophy of life and the purpose and importance of musical theatre.

This is an extremely clever show that both criticizes and celebrates old-style musical theatre, as well as presenting a sympathetic narrator in the person of Man in Chair, who is expertly and wittily portrayed by the superb David Schmittou. His winning performance is the centerpiece of this show as he becomes the point of interaction between the audience and the characters in the play-within-a-play. The rest of the cast is extremely strong as well, with standouts being Melancon as the hilariously “drowsy” Chaperone, Taylor as the glamorously goofy Janet, and Ely and Flack as the hilarious team of Mrs. Tottendale and Underling. Ryan Alexander Jacobs and Austin Glen Jacobs are also a lot of fun as a pair of comically overplayed gangsters. Juvier as Aldopho gives a winning comic performance as well, and Fitch and O’Shea-Creal show off their impressive tap dancing skills as Robert and George. The entire cast is excellent and full of energy as well, highlighting stand-out production numbers like “Fancy Dress”, “Show Off”, “Toledo Surprise”, and “I Do I Do In the Sky”, which also features a strong vocal performance by Kendra Lynn Lucas as Trix the Aviatrix.

The technical aspects of this production are stunning, as well. James Wolk’s set is marvelously versatile, transforming from Man in Chair’s modest apartment to various locations in the play-within-a-play with seamless precision. Sean M. Savoie’s lighting also helps to maintain the whimsical tone of the show, and Brad Musgrove’s costumes are sensational. From Man in Chair’s comfy sweater vest to the more colorful period dresses and suits, and the glitzy glamour of the ensemble in the production numbers, the costumes are a real highlight of the show. The whole tone of 1920’s-meets-present-day is wonderfully achieved in this expertly crafted production.

I’m glad this production at STAGES has served as my introduction to The Drowsy Chaperone. Such a cleverly written, funny and heartwarming musical deserves a first-rate production like this one. It’s truly spectacular, with a fantastic finale. It’s a highlight of the summer theatre season in St. Louis.

Cast of The Drowsy Chaperone Photo by Peter Wochniak STAGES St. Louis

Cast of The Drowsy Chaperone
Photo by Peter Wochniak
STAGES St. Louis

STAGES St. Louis’s production of The Drowsy Chaperone is running at the Robert G. Reim Theatre in Kirkwood until August 21, 2016.

LaBute New Theater Festival 2016
St. Louis Actors’ Studio
July 22, 2016

St. Louis Actors’ Studio’s LaBute festival has become one of the highlights of the summer theatre season in St. Louis after just a few years. Every year, the festival features a new play by celebrated playwright Neil LaBute as well as a variety of new one-act plays by various playwrights. This year, I was unfortunately unable to see the first installment of the festival, although I was able to see the second. In this edition’s selection of plays, the theme of power and control seems to be prevalent. Here are the selections and my thoughts:

“Life Model”

by Neil LaBute

Directed by John Pierson

Bridgette Bassa, Jenny Smith Photo by Patrick Huber St. Louis Actors' Studio

Bridgette Bassa, Jenny Smith
Photo by Patrick Huber
St. Louis Actors’ Studio

This year’s entry from festival namesake LaBute is an exploration of the relationship between artists and the models who pose for them, as well as an exploration of the nature of art itself. The artist (Jenny Smith) has been drawing this particular model (Bridgette Bassa) for a number of weeks or months, although the artist is secretive about her work. When the model challenges the artist’s motives, a power struggle ensues that leads to a somewhat predictable conclusion. This is a well-staged play and the cast members do an excellent job, from Smith’s defensive, evasive artist to Bassa’s confrontational model. Still, the play itself is a little confusing as to what message it’s trying to convey.

“American Outlaws”

by Adam Seidel

Directed by John Pierson

Eric Dean White, David Wassilak Photo by John Lamb St. Louis Actors' Studio

Eric Dean White, David Wassilak
Photo by John Lamb
St. Louis Actors’ Studio

The next play in this installment explores the relationship between two men who have something undisclosed in common. The revelations of this play are too complex to explain without spoiling much, but I’ll just say things aren’t necessarily as they seem, although the conclusion is fairly easy to guess. Eric Dean White is the nervous, conflicted man who has called the meeting, and David Wassilak is the more assured party in the arrangement. It’s clear from start to finish that, although White’s Mitch thinks he has some say in what goes on, it’s Wassilak’s Mike who is in control. The dialogue here is sharply written, and the secrets are revealed in a suspenseful way. Both actors give terrific performances, as well. This is the strongest play of the collection, I think, although it’s extremely bleak.

“Show of Affection”

by Laurence Klavan

Directed by Patrick Huber

Bridgette Bassa, Ryan Foizey Photo by John Lamb St. Louis Actors' Studio

Bridgette Bassa, Ryan Foizey
Photo by John Lamb
St. Louis Actors’ Studio

Here, the festival veers into the realm of horror/fantasy/dark comedy, with a story about a family getting ready for dinner. At first, they seem like a fairly ordinary family, but soon we learn more, as vampires, murder, jealousy, and revenge are brought to bear on the plot. The performances are strong, with Emily Baker’s determined matriarch and David Wassilak’s loyal father anchoring a story that also features memorable performances from Bridgette Bassa and Ryan Foizey in energetic performances as their adult children.  This is an unusual, fast-moving play that features a lot of caustic humor and stylized horror elements. It’s also somewhat predictable, but entertainingly so.

“Blue Balls”

by Willie Johnson

Directed by Patrick Huber

Ryan Foizey, Eric Dean White Photo by John Lamb St. Louis Actors' Studio

Ryan Foizey, Eric Dean White
Photo by John Lamb
St. Louis Actors’ Studio

The final play of the evening has an unfinished quality to it. Ostensibly, it’s about a nervous man, Peter (Eric Dean White) waiting for a woman to get ready for their first date, only to be intimidated by her adult son, Benoit (Ryan Foizey). And that’s it, really. Benoit tries various ways to make Peter uncomfortable, and Peter tries to keep the situation civil, but essentially this is just a son being snarky to his mother’s date. The fact that Benoit has cerebral palsy is made an issue, but it’s ultimately a fairly minor element of the plot. Both actors give good performances, but there really isn’t much to this story beyond that simple conflict.  It also ends rather abruptly with no apparent resolution. Although this has the potential to be an interesting character study, it’s really just a simple situation without much of a story.

Overall, I think the LaBute Festival is an excellent showcase for local talent and new playwrights, and I wish I had been able to see all of the plays this year. The production values are all excellent as well, from Patrick Huber’s versatile set and lighting design to Carla Landis Evans’s costumes and props. It’s another good year for this festival, and I look forward to seeing what STLAS has in store next summer.

The LaBute New Theatre Festival, presented by St. Louis Actors’ Studio, runs at the Gaslight Theatre until July 31, 2016.

Mamma Mia!
Music and Lyrics by Benny Andersson and Björn Ulvaeus, and some songs with Stig Anderson
Book by Catherine Johnson
Directed by Dan Knechtges
Choreographed by Jessica Hartman
The Muny
July 21, 2016

Ann Harada, Julia Murney, Jenny Powers Photo: The Muny

Ann Harada, Julia Murney, Jenny Powers
Photo: The Muny

It’s a good week for the Muny to be staging Mamma Mia! The show, set on a Greek island, is a quintessential summer show, and I’m sure the cast members appreciate being able to dress for the warm weather. This is the first production of this popular show at the Muny, and with its excellent production values, great cast, fun if slightly silly story and lots and lots of ABBA music, it’s a rousing success.

Not being the biggest fan of the whole concept of the “jukebox musical”, I was surprised at how much I enjoyed Mamma Mia! the first time I saw it on stage. The movie is also a lot of fun, but I prefer the stage show and its whole sunny atmosphere, and the way it incorporates the songs of popular Swedish disco supergroup ABBA into the story. It’s not a particularly deep or profound show, but it’s a lot of fun, focusing on former Donna Sheridan (Julia Murney)–the former lead singer of a disco trio–and her 20-year-old daughter, Sophie (Brittany Zeinstra). When the soon-to-be-married Sophie finds her mother’s diary and discovers that she has three possible fathers, she invites all three to the wedding without telling Donna, which causes all sorts of drama. The “dads” are three very different men–American architect Sam (Justin Guarini), who may still be in love with Donna; Australian adventurer and writer Bill (Mike McGowan), who enjoys his carefree single life; and slightly stuffy Englishman and former “headbanger” Harry (Ben Nordstrom). Donna’s friends and former bandmates Tanya (Jenny Powers) and Rosie (Ann Harada) also arrive for the wedding and get involved in the various shenanigans that ensue. It’s something of a goofy plot that doesn’t bear a lot of scrutiny if you examine it closely, but that doesn’t really matter in this case,  because it’s such a fun show that it’s easy to suspend disbelief for a little while.

The highlights of this show include the ABBA songs and the great cast. In terms of the music, all the well-known hits are here, including “Dancing Queen”, “Take a Chance On Me”, “The Winner Takes it All”, the title song and more. As for the performers, the cast is extremely well-chosen, led by the dynamic, sympathetic, big-voiced performance of Murney as Donna, and by the excellent Zeinstra as the persistent, optimistic Sophie. Powers and Harada provide excellent comic support as Tanya and Rosie, as well. Harada’s duet with McGowan on “Take a Chance On Me” is a hilarious moment. The men are well-cast, as well,  with Guarini in excellent voice as Sam, Nordstrom charming as Harry, and McGowan energetic and amiable as Bill. Jason Gotay as Sophie’s fiance Sky, and Alexander Aguilar and Wonza Johnson as his buddies Pepper and Eddie, also give good performances. The leads are backed by a strong ensemble, as well, which is great considering all the big, energetic production numbers there are in this show.

 The sunny atmosphere is reflected in the excellent unit set, designed by Tim Mackabee, that represents the Taverna that Donna operates. The Muny’s turntable is also put to good use. The costumes by Leon Dobkowski set the mood well, with colorful summer outfits,  swim suits, and  flashy disco outfits for Donna and the Dynamos. There’s also great use of video, designed by Greg Emetaz, that is incorporated well into the delivery of some of the songs, particularly Harry and Donna’s duet, “Our Last Summer”.  There’s also great lighting by Nathan W. Scheuer that helps to maintain the festive mood of the show.

I’m not sure how many times I can use the word “fun” in one review, but that’s really the best word to describe this show. Mamma Mia! isn’t a deep, thought-provoking type of show, although there are some truly poignant moments, such as the use of the song “Slipping Through My Fingers” as Donna is helping Sophie prepare for the wedding. Still, this show is about energy, style, ABBA music, and lots of fun, and this production at the Muny delivers all that, from the hopeful beginning to the memorable “mega-mix”style curtain call. The only small criticism I have is that sometimes the Muny’s enormous stage seems too big for this show in its more serious moments, although the music and energy eventually makes the show seem big enough. If you’re looking for a funny, summery, tuneful show with loads of hit songs, Mamma Mia! surely won’t disappoint.

Cast of Mamma Mia! Photo: The Muny

Cast of Mamma Mia!
Photo: The Muny

Mamma Mia! is being presented by the Muny in Forest Park until July 28, 2016.

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