Archive for May, 2014

Henry V
by William Shakespeare
Directed by Bruce Longworth
Shakespeare Festival St. Louis
May 24, 2014

Henry V Cast Photo by David Levy Shakespeare Festival St. Louis

Henry V Cast
Photo by David Levy
Shakespeare Festival St. Louis

Shakespeare Festival St. Louis’s ambitious 2014 summer season continues this week with another thrilling production of one of Shakespeare’s best-known history plays, brought to glorious life by the same excellent cast and, aside from a new director in Bruce Longworth, the same crew that presented last week’s wonderful Henry IV, which will now be shown in alternating performances with this week’s equally wonderful installment, Henry V. This latest installment is every bit as impressive as the first. It’s big, it’s grand, it’s magnificently realized, and it’s positively heroic in scale.

The profligate Prince Hal from the first part of Henry IV is now long gone, and he has matured into the newly crowned Henry V, still played with strength and magnetism by Jim Butz.  In this installment, Henry is given the hero treatment, as he takes his armies to France to lay claim to the French throne, and the tone of the piece is triumphant and heroic, with the rich-voiced Anderson Matthews serving as the Chorus and narrating the action in epic terms. Butz and Matthews anchor this production and set its tone, as Henry shows both his regal bearing and his humanity as he deals with treasonous plots, mingles with his troops, encourages his soldiers and commanders as he prepares to lead them into battle, delivers the famous “Once more into the breach” and “St. Crispin’s Day” speeches with presence and authority, and finally courts the French Princess Katherine (Dakota Mackey-McGee) in a positively delightful scene at the play’s conclusion.  All the while, Matthews majestically and boldly recounts the King’s adventures with a rich and glorious voice, and the rest of the play’s characters’ lives intersect with Henry’s in various intriguing ways, from the noble and challenged French King (Joneal Joplin) to the pompous Dauphin (Charles Pasternak), to the earnest French herald Montjoy (also Matthews), to Henry’s former drinking buddies, the opportunistic and amoral Pistol (Jerry Vogel), Bardolph (Alex Miller) and Nym (Gary Glasgow) and Pistol’s young Page (Dan Haller), who is increasingly disillusioned with his employer and seeks to follow the King’s example.

In addition to the magnificent performances by Butz and Matthews, the cast is in top form, as a few of the players return to the parts they played in Henry IV, but most take on new roles. Vogel is even more impressive this time as Pistol, clearly portraying the character’s shifty opportunism as well as his attachment to his family and friends. Pasternak is suitably brash and affected as the over-confident Dauphin, and Tony DeBruno, Drew Battles, Andrew Michael Neiman and Glasgow are excellent as some of  King Henry’s proudly patriotic officers. DeBruno, as the Welsh Captain Fluellen, is particularly memorable. Also notable are Haller in an impressive performance as the idealistic young Page, Mackey-McGee as an especially witty Princess Katherine and Kelley Webber as her faithful attendant Alice. There is not a single weak-link in this ensemble, and many performers shift seamlessly between various roles as the story unfolds.

Technically, the heightened, more epic tone of this piece is well-reflected, with the same set (designed by Scott C. Neale) being put to use in different ways than before, as a giant English flag is unfurled as a backdrop on one side of the stage, and actors use every inch of the space (even the very top of the set, as the battlements of a walled city) and Matthews as the Chorus makes his entrances in various creative ways.  John Wylie’s  lighting and Rusty Wandall’s sound is put to excellent use in the battle scenes, with slow motion-style fighting brilliantly choreographed by Paul Dennhardt to achieve just the right balance between chaos and order.  Bold battle drums and stirring music by Gregg Coffin effectively punctuate the scenes, as well.

Even with the intensity of the war scenes, the chilling brutality of one scene involving a hanging, and the somber and contemplative aftermath of the climactic battle , the overall tone is one of Henry as a heroic figure and a worthy leader and representative of his country.  He is the triumphant leader, but he is not superhuman, and his humanity is underscored throughout. Butz is an ideal Henry, ably supported by the entire impeccable cast, guided by Longworth’s sure-handed direction.  It’s a fitting companion piece to the equally brilliant Henry IV and a truly triumphant success for Shakespeare Festival St. Louis.

Anderson Matthews Photo by David Levy Shakespeare Festival St. Louis

Anderson Matthews
Photo by David Levy
Shakespeare Festival St. Louis

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The Homecoming
by Harold Pinter
Directed by Milton Zoth
St. Louis Actors’ Studio
May 23, 2014

Charlie Barron, Peter Mayer, Missy Heinemann, Ben Ritchie, Larry Dell, Nathan Bush Photo by John Lamb St. Louis Actors' Studio

Charlie Barron, Peter Mayer, Missy Heinemann, Ben Ritchie, Larry Dell, Nathan Bush
Photo by John Lamb
St. Louis Actors’ Studio

Theatre is fascinating in its variety. Sometimes a play will be easy to understand and will simply entertain. Some plays will make you think a little bit. Occasionally, there will be a play that makes you think a lot, and then re-think and second guess, and think again, all the while leaving you unsure of whether you really understood what was happening. Harold Pinter is a master of this kind of play, and The Homecoming is a prime example. Provoking, challenging, and even daring the audience to make sense of its plot and characters, this is a play that can stick in a viewer’s head, especially in the hands of a strong cast and director.  St. Louis Actors Studio, closing out their 2013 season, is presenting a memorable, challenging production of this intense and challenging play.

The most often-repeated comment I heard from audience members after this play was “and you thought your family was weird!”  Indeed, with The Homecoming, Pinter has introduced a dysfunctional family at the extreme end of the scale.  The family is initially presented to be something of a garden variety snarky brood, as patriarch Max (Peter Mayer) trades barbs with his angry, enterprising son Lenny (Charlie Barron)  and his fastidious brother, Sam (Larry Dell) and humors his other son Joey (Nathan Bush), a not-too-bright wannabe boxer.  As for the sons’ late mother, there are hints and vague reminiscences but very little concrete information. It’s when long-absent eldest son Teddy (Ben Ritchie), a philosophy professor, returns to his childhood home with his initially nervous wife Ruth (Missy Heinemann) in tow that it starts to get more obvious how truly strange this family is in reality. It’s clear from their arrival that there is tension in Teddy’s and Ruth’s marriage, and Ruth’s confrontational meeting with Lenny sets the tone for more revelations as the story progresses, revealing the true character and motivations of each family member while leading to a shocking proposal and somewhat surprising conclusion.

The characters here, while not particularly likable, are very sharply drawn and expertly portrayed by an extremely strong group of actors. Barron is a force of nature as Lenny, a mixture of magnetic presence and fierce, unapologetic and even brutal amorality. He can be downright scary, but but he’s also fascinating to watch.  His first meeting with Heinemann’s initially hesitant but ultimately just as devious Ruth is charged with primal energy and challenge. Ritchie, as the weak-willed Teddy, and Bush,  as the brutish but almost childlike palooka Joey, provide excellent support, and Dell is engaging as the one character who seems to have a conscience, the proud but conflicted Sam. As Max, Mayer is a match for Barron in his darkly comic energy and potential for menace, with a layer of obvious nostalgia for an earlier time that may not have been as great as he insists on presenting it. The entire cast displays an impressive sense of chemistry and energy as the plot unfolds, displaying a full range of the darker aspects of human nature as well as very real, if misplaced, sense of longing for acceptance and familial connection that is made very clear even in the midst of the more twisted and unsavory goings-on.

The mood and tone of this production is aptly suggested by Patrick Huber’s detailed set, which portrays a well-worn house that displays many signs of disrepair, much like the family that inhabits it. The exposed beams of a hastily-removed wall in the middle of the room, and the ghost images of long-forgotten paintings on the back wall suggest a sense of carelessness and despair.  The costume design, by Carla Landis Evans, is also strikingly appropriate, from Max’s much-worn ragged undershirt to Sam’s more meticulous attire and Lenny’s more flashy-sleazy outfits that suggest the nature of his “occupation” that is ultimately revealed in the second act of the play. Zoth’s dynamic staging adds to the offbeat atmosphere as well, creating a tense, character-driven production that holds the attention throughout the highly-charged proceedings.

This is not an easy play to understand, to put it mildly, and it’s bound to provoke strong reactions.  This is a play that is at once bizarre, shocking, challenging and even infuriating. This isn’t a happy play, nor is it easy to process, and it’s definitely for adult audiences.  Still, with its sharply drawn characters, top-notch acting and impeccable staging, The Homecoming is theatre at its most provocative and complex. It will surely give you something to think and talk about on your way to your own home.

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Henry IV
by William Shakespeare
Directed by Tim Ocel
Shakespeare Festival St. Louis
May 17, 2014

Jim Butz Photo by David Levy Shakespeare Festival St. Louis

Jim Butz
Photo by David Levy
Shakespeare Festival St. Louis

Shakespeare Festival St. Louis has pulled out all the stops this year. In an ambitious new move, SFSTL has decided to present two plays this year in Forest Park instead of one, as they have every previous year. Technically speaking, it’s actually three plays, presented as two productions. While Henry V is due to open next week in Shakespeare Glen, this week marks the premiere of a condensed version of Henry IV parts 1 and 2, adapted by director Tim Ocel into a single presentation that tells its story very well.  Majoring on the story of Prince Hal (Jim Butz) and his journey from profligate prince to responsible King, this production takes a story out of history and instills it with a sense of immediacy and humanity.

Based in history and immortalized in Shakespeare’s legendary dramatization, Henry IV tells the story of the titular King (Michael James Read) and his rocky relationship with his son Hal as well as his struggle to retain his throne against a challenge led by Henry “Hotspur” Percy (Charles Pasternak), the son of the King’s former ally, the Earl of Northumberland (Joneal Joplin).  While Hotspur shows ambition and drive, King Henry laments that his own son spends much of his time carousing in taverns with the vainglorious and irresponsible Sir John Falstaff (Tony DeBruno) and his rowdy gang of ruffians.  Although the play is named after the King, the real central figure in this presentation is Prince Hal, as he faces the choice between remaining in his partying ways or taking up the responsibility as heir to the throne and joining with his father in defending against Hotspur’s rebellion.

Casting must have been a challenge in this production, since many of the actors take multiple roles, often with great contrast. Jerry Vogel, for instance, is nearly unrecognizable between his two excellent portrayals of the King’s loyal ally, the noble Sir Walter Blunt, and of one of Falstaff’s cronies, the coarse Pistol. Alex Miller, as both the jolly Bardolph and the warlike Earl of Douglas, also does an excellent job of creating two distinct and vivid characters.  Various of the more minor roles are also doubled up, and some performers who have one prominent role also show up occasionally in minor roles, such as Dakota Mackey-McGee, who plays Hotspur’s wife, Kate, and Kelley Weber, who plays Lady Northumberland. Both also appear as nameless women who hang out with Hal and Falstaff in the tavern scenes.  Overall, it’s a very cohesive ensemble with excellent work all around, helping create a mood of warlike seriousness in the battle scenes as well as unrefined jollity in the tavern sequences.

The four key players here do not alternate roles, however, and their casting is impeccable.  Butz, in particular, will play continue to play the same character in the next production, Henry V, as well.  A consummate Shakespearean, Butz has the commendable gift of being able to emphasize the humanity in some of Shakespeare’s most iconic characters, making them instantly relatable.  His Hal is alternately charming, vacillating, confused, sincere, and ultimately resolutely determined.  His command of Shakespeare’s dialogue is strong, and he even manages to vary the pitch of his voice gradually as Hal takes on more responsibility, taking on a richer, more regal tone in later scenes.  Pasternak, as Hal’s rival Hotspur, is a dynamic presence, always moving and full of energy and fiery charisma.  It’s easy to understand why he would be able to lead a rebellion. His climactic duel with Butz’s Hal is a dramatic highlight, as is his earlier scene of belligerent chemistry with Mackey-McGee as his insecure but outspoken wife.  Pasternak is new to St. Louis theatre, and he makes a very strong impression.

As Hal’s competing father figures, Reed and DeBruno are also excellent.  Reed’s Henry is suitably authoritative but also clearly insecure as well, and alternating disappointment and trust of his son are truthfully portrayed, especially in one scene near the end of the production in which Henry’s health is failing and Hal must seriously consider the impending reality of both the loss of his father and the responsibility of the throne.  As Falstaff, DeBruno isn’t quite as bombastic as other actors I’ve seen in the role, although he remains a strong and constant presence, at once endearing, brash and cowardly, as he plots intrigues with his cronies, verbally spars with the determined tavern hostess Mistress Quickly (Kari Ely), or tries to stay out of too much trouble during the inevitable battle. His scenes with Butz are especially brilliant, particularly in the scene where Falstaff and Hal take turns imitating King Henry, challenging the nature of their relationship to one another and to the King.

The overall look and feel of this production is decidedly stark and martial, with its booming soundtrack of warlike drums and Scott C. Neale’s simple set with thematic elements of iron and stone, and Dottie Marshall Englis’s richly detailed costumes add to the historic tone of the piece. The fight scenes are well choreographed by Paul Denhardt, with the battle scenes being a major dramatic highlight of this production. Ocel has managed to find just the right balance between the poignant drama, chaotic battle scenes, and rowdy comic relief. Hal’s journey from reluctant Prince to square-shouldered King is portrayed clearly and with riveting energy.

As epic as this installment of Hal’s journey is, however, this is only the beginning. Next week, the story continues with Henry V, and the plays will then be presented on alternating evenings for the rest of the run.  With such a profoundly moving, thoroughly engaging production as this, I find myself even more eagerly looking forward to the next part.  SFSTL has undertaken a momentous challenge in this latest project, and so far, they have more than lived up to their promise to deliver a timeless and timely, immensely satisfying and thought-provoking representation of one of Shakespeare’s most celebrated historical works.

Jim Butz, Tony DeBruno, Kari Ely, Alex Miller Photo by David Levy Shakespeare Festival St. Louis

Jim Butz, Tony DeBruno, Kari Ely, Alex Miller
Photo by David Levy
Shakespeare Festival St. Louis


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The Wizard of Oz
Music by Harold Arlen, Lyrics by E.Y. Harburg
Additional Music by Andrew Lloyd Webber, Lyrics by Tim Rice
Directedy by Jeremy Sams
The Fox Theatre
May 13, 2014

Danielle Wade, Jamie McKnight, Lee MacDougall, Mike Jackson Photo by Cylla Von Tiedemann Wizard of Oz Tour

Danielle Wade, Jamie McKnight, Lee MacDougall, Mike Jackson
Photo by Cylla Von Tiedemann
Wizard of Oz

The real “wizard” behind the curtain of this latest production of  The Wizard of Oz is Andrew Lloyd Webber.  Having produced this show first in London and then in Toronto, casting the lead via a reality talent competition both times, Lloyd Webber has put his own stamp on the time-honored classic, re-teaming with lyricist Tim Rice to write additional songs for the show and assembling an excellent design team to create a unique look for the production.  The current US Tour of the production, starring most of the Toronto cast, has now arrived at the Fox Theatre, and while the overall production isn’t quite as grand as it was in London, it still provides for a tuneful, colorful and entertaining evening of theatre suitable for all ages.

 The story here is familiar to basically everyone, having been taken mostly from the classic MGM film. Dorothy Gale (Danielle Wade) and her dog Toto (an adorable Cairn terrier named Nigel) are whisked away by a cyclone to the magical land of Oz, where Dorothy, advised by Glinda the Good Witch of the North (Robin Evan Willis), heads off on a journey to the Emerald City to meet the Wizard (Jay Brazeau) in the hope that he will be able to help her get back to her home in Kansas.  Along the way, she meets the Scarecrow (Jamie McKnight), the Tin Man (Mike Jackson) and the Cowardly Lion (Lee MacDougall), all the while being antagonized by the vengeful Wicked Witch of the West (Jacquelyn Piro Donovan), who is determined to capture Dorothy in order to obtain the precious Ruby Slippers, with which Dorothy has been entrusted.  It’s a classic tale of friendship, bravery and the importance of home, and all those familiar elements are here, with a few mostly stylistic elements from L. Frank Baum’s original book (such as the Munchkins all dressed in blue) thrown in for good measure.

I was fortunate enough to have been able to see the original London production of this show three years ago, and I found it spectacularly staged and extremely well-cast.  This production has obviously been scaled down for touring, and for the most part, it still looks good, with colorful sets and costumes by Robert Jones, and strong choreography by Arlene Phillips. It’s probably not fair to compare too much, and most of the people seeing this show will not have seen it in London, but I can’t help but wish this version still had some of the scale of the original.  Where the scaling down shows the most is in the lack of flying effects (the Witches mostly just walk everywhere, and the Monkeys don’t really fly), and in the Munchkinland scene, where the staging comes across as cluttered and cramped.  Also, several of the backdrops have a one dimensional quality, and when Dorothy and friends on the Yellow Brick Road finally see the Emerald City in the distance, it looks a lot like a flat Christmas tree.  Still, even with those issues, the show manages to entertain. The Kansas scenes look great here, and I’m also especially impressed by some of the dancing that I don’t remember from the London show, such as an impressive rhythmic baton-clicking dance by the Winkies (the Wicked Witch’s minions) near the end of the show.

In terms of the cast, this production does well.  Wade makes an engaging, likable, slightly tomboyish Dorothy, and her voice is strong on the iconic “Over the Rainbow”. Despite seeming oddly out of breath through much of the first act, Wade displays a strong bond with her three companions and, especially, with Toto. McKnight makes a fine, goofy and forgetful Scarecrow, and Jackson is in great form as a swaggering Tin Man.  MacDougall, as the Lion, is funny delivering his many one-liners, although he seems a little too over-the-top at times. The Witches–Willis as a particularly snarky version of Glinda and Donovan as the menacing Wicked Witch–play well in their antagonistic relationship on stage, and Donovan delivers the new “Red Shoes Blues” with gusto.  As Professor Marvel (in Kansas) and the Wizard, Brazeau is charming and sympathetic, if not a particularly powerful singer.  The ensemble here is strong as well, especially in the dancing.

For the most part, I would say that this incarnation of Andrew Lloyd Webber’s The Wizard of Oz is a crowd-pleasing success. While not quite as spectacular as the earlier London production, this version still has many strengths and is an excellent show for families. It’s not exactly like the film, and visually it looks very different, but the story is essentially the same.  The poignant and familiar finale (with a slight twist) is especially well-done here, leaving the audience with a sense of wonder and hope.

Danielle Wade, Mike Jackson,Jamie McKnight Photo by Cylla Von Tiedemann The Wizard of Oz

Danielle Wade, Mike Jackson,Jamie McKnight
Photo by Cylla Von Tiedemann
The Wizard of Oz

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The One-Hour Twilight Zone: Live
with a special appearance by The Superfriends
Directed by Laura Enstall
Magic Smoking Monkey Theatre
May 10, 2014

Maxwell Knocke, Suki Peters, James Enstall Magic Smoking Monkey Theatre

Maxwell Knocke, Suki Peters, James Enstall
Magic Smoking Monkey Theatre

This show is what would happen if you threw The Twilight Zone, The Superfriends and several hundred more pop-culture references into a mixer and then poured them out on stage before a crowd of enthusiastic spectators. The latest offering from Magic Smoking Monkey Theatre, St.Louis Shakespeare’s more offbeat sister, The One Hour Twlight Zone: Live is a fast-moving, low-budget nostalgia trip that both salutes and lampoons its subject matter, presenting outrageously embellished versions of three episodes of two classic TV shows, with a brave, energetic cast who try out seemingly every possible joke they can find while taking the audience along for a truly wild ride.

In a very brief presentation that actually runs for slightly less than an hour, the cast play various roles in presenting two of the best known Twilight Zone episodes, with a comic twist. “To Serve Man” tells the story of a government code-breaking specialist (Jaysen Cryer) and his efforts to decipher a book delivered by the seemingly benevolent Kanamits (represented by a smug, imposing Ian Hardin wearing a robe and plastic Star Trek headpiece), an alien race who introduce all sorts of technological improvements to this planet and invite unwitting Earthlings to visit their planet. This time, however, the “To Serve Man” book is titled in Piglatin, there’s a government translator who never gets anything right, and one guy (Alex Ringhausen) playing all the various world ambassadors.  In “Nightmare at 20,000 Feet”, the nervous passenger (Hardin) plays the role relatively straight, but his wife (Suki Peters) is a loopy ditz, the flight crew and passengers are all self-absorbed, and the supposedly scary Gremlin (Jaiymz Hawkins) is a clownish troublemaker wearing a fuzzy teddy bear hood. References from decades worth of pop culture are thrown in for good measure. These proceedings are all hosted by the stone-faced Rod Serling (James Enstall), accompanied by some clever wall-projections (including Twilight Zone trivia shown before the show begins) and an extremely enthusiastic cast, all of whom seem to be having a whole lot of fun.

As fun as the Twilight Zone sequences are, however, the real highlight of this show for me is the Superfriends segment, based on an episode called “The Time Trap”. Maybe that’s because I watched that show on Saturday mornings as a child, but I think it’s just the overall craziness of it that makes it so enjoyable. With all the actors playing multiple roles, as both super heroes and super villains, and aided by the hilarious projections including a video game-style fight sequence between Giganta (Betsy Bowman) and Apache Chief (Cryer), this segment is a hyperactive, satirical treat. The super heroes are given broadly cartoonish characterizations–a glib, self-centered Superman (Maxwell Knocke), an airheaded cheerleader Wonder Woman (Peters), a fearless and single-minded Aquaman (Ringhausen) armed with a SuperSoaker, and, my favorite, the gruff Batman (Enstall) and tirelessly perky Robin (Michael Pierce).

The action all moves very quickly, the jokes are of the pay-attention-or-you’ll-miss-them variety, and the presentation isn’t particularly polished, but that’s part of the charm of it all. Visually, the costumes and sets all look cobbled together from whatever the designers (Katie Donovan for costumes, Linda Lawson-Mison for the set) could find. It’s not particularly sophisticated, but I think that’s the point. The whole show has a kind of improvised look and atmosphere that adds to the overall whimsical tone of the piece. It’s a crazy, endearing, multi-referential comic delight  that will transport audiences to a dimension of laughter. The One Hour Twlight Zone: Live is not a show to think too deeply about. It’s just a quick, speedily-paced, colorful and nostalgic good time. I look forward to seeing what Magic Smoking Monkey Theatre comes up with next.


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by Leslye Headland
Directed by Rachel Tibbetts
Slightly Askew Theatre Ensemble
May 9, 2014

Ellie Schwetye, Wendy Renee Greenwood, Cara Barresi Photo by Joey Rumpell Slightly Askew Theatre Ensemble

Ellie Schwetye, Wendy Renee Greenwood, Cara Barresi
Photo by Joey Rumpell
Slightly Askew Theatre Ensemble

Bachelorette is the latest entry in Slightly Askew Theatre Ensemble’s “Season of the Monster”.  Rather than the more straightforward interpretation of “monster”, as represented in SATE’s last production of the popular ghost story The Woman In Black, this latest production explores the monstrous side of ordinary people, taking the highly stressful but usually happy occasion of a wedding  as an opportunity to delve into some of the very darkest aspects of its characters’ lives and relationships.  It’s a short, extremely intense drama that showcases some of its characters at their worst, as well as the impressive cast of actors at their very best.

When it comes to wedding preparation, you may have heard of the “Bridezilla”, or over-controlling bride.  This play, instead, focuses on more of a “Bridesmaidzilla” and many crazy and petty goings-on on the eve of a wedding.  Becky (Jamie Fritz) is the bride, but she actually doesn’t show up until late in the play, although we hear a lot about her from icy Maid of Honor Regan (Ellie Schwetye) and her friends Gena (Cara Beresi) and Katie (Wendy Renee Greenwood), who Regan has invited to a bachelorette gathering in Becky’s hotel room without Becky’s knowledge. Much debauchery, gossip and bitching ensues, as the friends (or, more accurately, frenemies) indulge in copious amounts of drugs and alcohol while revealing their true thoughts about Becky, her wedding, and each other. In the midst of this, Regan indulges in a belligerent flirtation with Jeff (Jared Sanz-Ager), whom she has just met that night, while Jeff’s friend Joe (Carl Overly, Jr.) develops a bond with the initially perky party-girl Katie, who reveals an increasingly depressed and self-destructive side as the evening’s events progress.

The casting for this show is about as close to perfect as I can imagine. All the players are ideally cast in their roles, with Schwetye and Greenwood the particular standouts.  Schwetye plays cool, controlling Regan with just the right amount of humanity and a huge dose of icy resolve, precision-aimed cruelty and a brutal self-focus.  Greenwood portrays the fragile Katie with a convincing blend of perkiness, vulnerability and edge-of-a-cliff instability, singing her heart out on the Beach Boys’ “Don’t Worry, Baby” in one memorable scene. As Joe, the perpetually stoned friend of Jeff’s who forms a quick connection with Katie, Overly is a strong, dependable presence. His scenes with Greenwood, as they both reveal some of their darkest personal secrets, are devastatingly truthful. Sanz-Agero, as the smug Jeff, does a good job especially in his scenes with Schwetye as the two act out their antagonistic attraction. Barresi, as the alternately aggressive and protective Gena, and Fritz as the much-maligned and seemingly clueless Becky also give strong performances.  It’s a very strong cast that brings an air of gritty authenticity to the raw and sometimes brutal proceedings of the play.

The scenic design is by Schwetye and director Rachel Tibbetts, and it works just right. Set up in the Chapel arts venue so that the audience is on the stage and the “stage” is the floor of the space, this arrangement suggests the high-class hotel room setting with just a little bit of furniture and an area rug complementing the existing bar area very well. There’s also great use of music and excellent atmospheric lighting by Bess Moynihan.  This is a dark play in its subject matter, and the overall look is appropriately stark.

This is a show about adults acting like petulant children, and it’s definitely for an adult audience with its language and themes. It’s a well-written character study that explores some of the more unsavory aspects of human nature, showing just how monstrous and cruel people can be, even toward those they claim are their friends. Although it’s not a happy show, there are flickers of compassion and humanity that bring the more brutal aspects of some of the characters into sharper focus by the contrast. It’s a sharp, incisive and undeniably provocative  experience, and another profoundly memorable success for SATE.

Wendy Renee Greenwood, Carl Overly, Jr. Photo by Joey Rumpell Slightly Askew Theatre Ensemble

Wendy Renee Greenwood, Carl Overly, Jr.
Photo by Joey Rumpell
Slightly Askew Theatre Ensemble

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Old Jews Telling Jokes
Created by Peter Gethers and Daniel Okrent
Directed by Edward Coffield
New Jewish Theatre
May 8, 2014

Johanna Elkanah-Hale, Bobby Miller, Craig Neumann, Dave Cooperstein, Stellie Siteman Photo by John Lamb New Jewish Theatre

Johanna Elkanah-Hale, Bobby Miller, Craig Neuman, Dave Cooperstein, Stellie Siteman
Photo by John Lamb
New Jewish Theatre

Comedy is at the forefront in the final show of New Jewish Theatre’s 2013-2014 season, Old Jews Telling Jokes.  The title of the show tells you what to expect, for the most part. I wouldn’t classify most of these performers as “old”, but I suppose Jews of Various Ages Telling Jokes isn’t quite as catchy.  Still, in the hands of the great five-person cast of this show that’s more of a revue than a play, this production is exactly what it promises to be: very, very funny.

Although this production doesn’t really have a plot, it does have a structure. Celebrating the long tradition of humor in Jewish culture in America, the players present a series of sketches, songs and stories focusing on various aspects of Jewish life, from birth to childhood, to dating, romance, sex and marriage, to religion, Jewish holidays, parenthood, old age, and death.  The jokes themselves range from sweet to snarky to mildly suggestive to downright raunchy, with a few songs thrown in for good measure. This onslaught of rapid-fire humor is occasionally punctuated by a series of monologues as each cast member relates a particular character’s experiences emphasizing the importance of jokes in their lives, whether its enjoying watching great Jewish comedians on TV, to bonding with non-Jewish friends over a mutual love of the old jokes, to passing on the traditional jokes to future generations and maintaining the connection with past ones, to using humor to succeed in the business world, and even using it as a way of comfort in tragic circumstances. Humor served as a way of both reaffirming Jewish cultural identity and as a way of uniting with the rest of American culture, and every aspect of life is covered here by the energetic and amiable cast.

The ensemble here is well-chosen, filling the various roles with style and wit. The marvelous Bobby Miller is hilarious in the cantankerous, gravelly-voiced, wisecracking “old man” roles, playing everything from a matter-of-fact rabbi to an exasperated retired businessman and father (in one of the more shocking moments in the show).  In addition to the scene-stealing Miller, Stellie Siteman brings a sharp wit to various characters including the older mother and wife roles, Craig Neuman and Dave Cooperstein play varying “everyman” roles to hilarious effect, and Johanna Elkanah-Hale brings a bubbly, infectious energy to her roles, mostly in the daughter and younger wife and mother roles.  It’s a very cohesive, likable ensemble, bringing much infectious humor to jokes from the benign (school humor, overprotective mothers, etc.) to more edgy material (including a hilarious joke involving a pickle slicer) and song-and-dance numbers such as introduction and a salute to Jewish holidays in America, singing about celebrating Hannukah in Santa Monica.

The colorful set and projections by Peter and Margery Spack add a lot to the overall whimsical atmosphere, as well. The projections even begin before the show, displaying various jokes to set the mood and tone. I’m always impressed by the technical quality of NJT productions, and this one is no exception.  The usual arrangement of the performance space has also been rearranged here to more of a traditional proscenium format to emphasize the old-time Vaudeville-style revue structure of the show, and this arrangement serves the production well.

I don’t want to go into too much detail about the jokes, because that would spoil the fun.  I will say, though, that there are quite a few jokes here that I’ve heard before, along with less familiar material, and they’re delivered at a brisk pace. There are so many jokes that if you don’t laugh at one, there’s bound to be another soon after that will have you rocking in your seat with laughter.  Much of the humor relates specifically to Jewish culture, and while I imagine that Jewish audience members in particular will find a lot here with which to relate, one of the main points of this production is that humor can be both specific and universal. Whether you’re Jewish or not, and whether you’re old, young or somewhere in between, there’s a lot to laugh about in this extremely entertaining celebration of humor in its various forms.

Dave Cooperstein, Craig Neuman, Bobby Miller Photo by John Lamb New Jewish Theatre

Dave Cooperstein, Craig Neuman, Bobby Miller
Photo by John Lamb
New Jewish Theatre




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Shakespeare Festival St. Louis has been a major staple of the St. Louis theatre scene, and an important fixture of late Spring in Forest Park since their first production, Romeo and Juliet, in 2001. Now, after seemingly perfecting their tried and true routine of producing one full-scale Shakespeare play per year, Executive Director Rick Dildine and his carefully assembled creative team are trying something new.  Starting next week with the opening of a condensed version of the Bard’s Henry IV parts 1 and 2 and continuing the following week with the premiere of Henry V, for the first time in the festival’s history the feature presentation will be a cycle of plays rather than just one.  After the opening of Henry V, both plays will be presented on alternating nights until closing night on June 15th.  It marks an ambitious new period in the history of the festival, as well as an exciting adventure for all involved.

The idea for producing this cycle of plays came from Dildine’s desire for more of a true festival format for the Forest Park productions, and as a recognition of the scope and vision of Shakespeare’s history plays. “For the past four years, we’ve been talking about what does a festival look like?  And I think that a festival is more than one thing,” says Dildine. “So this is the beginning of fully realizing a festival format.  And I didn’t want to do just any two plays. I wanted to do something more that felt like an epic event; that felt like something unique and exciting.  And what we have at our disposal is that we have this history of plays, of how Shakespeare thought about history. So we said, what if we did an epic history moment?  That’s when I came up with the idea of doing Henry IV part 1 and 2 and Henry V.

When asked about whether the recent BBC television production of the plays, called The Hollow Crown and aired in the United States on PBS, had any influence on the decision to present these plays at the Festival, Dildine says it did not. He refers to the timing of the TV show’s airing as a “happy coincidence” in that now the plays will be fresh in the minds of more of the general public. While he says the specific plan for this production began about four years ago and has been in the serious planning stages for two, the original inspiration came from an experience Dildine had years ago as a young actor, when he was able to see a production of the cycle of plays often referred to as the “Henriad”, which consists of Richard III, Henry IV parts 1 and 2, and Henry V. “To watch all of those plays happen in a weekend with one cast in rotating rep,” he says, “was one of the most exciting theatrical experiences of my life. And I said that if I was ever in a position to share that experience with other people, I wanted to do it. So that opportunity, it took four years to make it happen here, but it has come to us. And then to find out that the BBC produced all of them, it’s just a bonus”.

With the idea firmly in place, Dildine’s next task was to recruit directors for the individual productions, as well as a design team. Tim Ocel, who is new to the Festival but has directed several plays in the St. Louis area and elsewhere, was brought in to direct Henry IV parts 1 and 2, and Bruce Longworth, who had previously directed SFSTL’s productions of Hamlet and Othello, will direct Henry V. Apparently, the choice as to who would direct which play was relatively easy. According to Longworth. “[Ocel] and Rick had a conversation in which he expressed interest in Henry IV, and Rick mentioned that to me and I said, well that’s just fine because I express interest in Henry V, so everything works out for everyone “.

Both directors are excited and passionate about the material and the project in general. Longworth refers to Henry V as a “thrilling, thrilling story”, and adds that it is “a story about courage, faith, and loyalty. A story of a young man who is learning how to be a king, and what it means to be a king. He learns about the leadership required, the tremendous burden of responsibility involved, the sense of loneliness that comes with being a king. These are exciting themes.”

For Ocel, the Henry IV plays represent a man’s choice between chaos and law, as well as detailing England’s growth as a more civilized nation. “And I do think that’s what happens in Henry IV particularly,” he explains,”that with Prince Hal, that he could decide to hang with Falstaff and allow chaos back into the kingdom through that kind of bacchanalian Dionysian force that Falstaff and what he represents is, or he could choose to lead the country to become the next King, and choose the law–which in our play is represented by the Lord Chief Justice–and say that law has a place in the world of civilized men”.

“There’s something about that really somewhat complete arc within the larger arc of the chronicles, of the history chronicles, that is really truthful,” Ocel adds. “And so the plays do chronicle England’s steps toward civilization.The other interesting thing that audiences I don’t think realize is that, because Henry IV usurped the crown from Richard II, that his eldest son who is line to be Henry V was not brought up to be a prince. He was not brought up to be king. So, it seems that Prince Hal is having greatness thrust upon him, and a good part of play, I think, is him deciding whether he wants that or not.”

Ocel was also faced with the particular challenge of combining two separate plays into one. Majoring on the main themes, as well as keeping track of the overall word count, helped him decide what to keep and what to cut in order to create a playable script. Describing the process, he explains that he “just took both plays, put them all in a row and said, OK, here is five to six hours’ worth of play. In order for us to play in the park, the play has to be 2 hours and 45 minutes or less, to get out of the park by 11:00. So I just started whittling down, and before I whittled down I had to decide what I wanted to focus on in terms of the arc of these two plays being together. And I decided that the thing to really focus on was the triangle of the three major players, which is Henry IV and Falstaff at either end of a line, and Prince Hal in the middle of that at the top of triangle, and Hal has to pick between those two, essentially father figures. But that really was the thrust of the evening that we’re going to see in the park.”  He also points out how Prince Hal, in a way, becomes somewhat of a surrogate for the audience in terms of mentally processing his dilemma, in that “[the audience] needs to make the judgment call on their own as to what we might do individually, if we were in that position.  The play really believes in civilization and mankind moving forward, which is about justice and about law and all of that.”

Ultimately, what Ocel came up with was a script in which  “two-thirds of what the audience is going to see here is Part 1, and then the final third of the play is Part 2.”  The script also required a great deal of re-reading to make sure it would make sense to an audience. “Once  you have the cutting in front of you,” he explains “you have to forget that you know any other information than the words that are in front of you in this particular version, and say does this play make sense? We are not assuming that anybody who comes to see this knows the plays. It would be nice if they do, but you do not have to know, because the play will tell you what you need to know, as Shakespeare always did. He pretty much told you the stuff that you need to know.”

Set under construction in Shakespeare Glen, Forest  Park

Set under construction in Shakespeare Glen, Forest Park

There has been a great deal of collaboration in producing a cohesive cycle of plays that will feature the same ensemble across both productions. Both directors have worked with the plays’ designers, such as set designer Scott C. Neale and costume desinger Dottie Marshall Englis, to achieve a consistent look for the shows. “We’re both working with the same design team,” says Longworth, “so we both have ideas of what the set should look like and the costumes, and so there’s been a tremendous amount of collaboration with the design team to come up with a look that serves both plays.  We went through the casting process together, Tim and I, along with Rick, so we saw the same folks auditioned and collectively chose the company. It is the same company of 22 actors in both productions, so there’s a lot of collaboration in terms of how the shows will be rehearsed concurrently.”

In terms of the shows’ overall aesthetic, Dildine explains that “we’re setting both plays in the same time period, so we’re using one set and one aesthetic of costuming.” Longworth elaborates, describing how the show will have essentially a traditional historical setting, but more of an abstract set. “The time setting is in period, in terms of costumes, or at least nominally in period. The settings you will see onstage is not a literal setting. You know, you’re not going to see a 15th Century building. You’re going to something that is much more abstract.” As for the costumes, according to Longworth, they “will look to be period costumes although there are elements in the costuming that have… a bit more kind of modern flavor. But they will look to the casual eye very much as period costumes.”

The casting process involved Dildine and both directors, and will feature what Dildine describes as “a who’s who of St. Louis actors”, including Jim Butz, Joneal Joplin, Jerry Vogel, Michael James Reed, Kari Ely, Kelley Weber, and more.  In addition to the local there are also several performers who have been brought in from other parts of the country. “It’s a very talented ensemble of people,” says Dildine. Longworth refers to them as “a rock and roll company” and adds that “the actors you get to do Shakespeare, they do Shakespeare because they love it, so it’s always great fun working with actors who are excited about the project you’re working on together.”

One challenging aspect of casting was that, while some performers such as Butz (who plays Prince Hal, who later becomes Henry V) will be playing the same character throughout both plays, others will be playing multiple roles.  Ocel explains the process, mentioning how the actors’ auditions often dictated what different roles they would play. “We would… make doubling decisions based on the actors standing in front of us,” he says, “and what made the most sense with their physicality, their age, their fight ability, that kind of thing, as opposed to us… sticking with some kind of paperwork notion about who should double in what scene.”

Both plays have been rehearsing at the same time, starting in April and leading up to the opening of Henry IV next week, and then Henry V the following week. Although the plays will normally alternate performance nights, there will be two Saturdays in which both plays will be presented in the same day. As Dildine explains, “Henry IV will begin at 4:30 in the afternoon, in broad sunlight. It will go until about 7:30, when we will take an hour-long break, and we’ll invite everyone to take the break at the same time. And then at 8:30, we’ll begin Henry V.” There will also be an intermission in the middle of each individual play, providing  for a total of three breaks throughout the performance day.

This all promises to be a unique experience for the audience and the beginning of a new era for SFSTL.  Although Dildine isn’t planning to do another cycle of plays in the park next year, he envisions expanding to more projects outside the park. “We’ll go back to doing one play in the park [next year]”, he says, “but there will be other plays that we will present in other ways during our season time.”

As for what this year’s production means for the future of SFSTL and theatre in St. Louis, Dildine is adamant in his optimism. “I think this is a major moment for the institution, as an institution that is capable of producing a season of work.  We’ve been building to this moment, with other programs in the schools, in the streets. And now building upon that work in the park, that’s what I think is going to be exciting for people, to see the artistic excellence and the professional quality of one of only 12 free Shakespeare festivals in the country, right here in St. Louis. And the city has something to celebrate, with this institution.”

The set has been assembled in Shakespeare Glen, and the space is being made ready to accommodate the thousands of audience members who are expected to attend over the month-long performance season.  With a classic story and sweeping historical theme, these plays represent some of Shakespeare’s most celebrated work.  Ocel even goes so far to say that he thinks Henry IV part 1 “could be [Shakespeare’s] greatest play”, adding that he thinks it’s even better than Hamlet.  It remains to be seen how well this production will be received, but with all care and thought that have been put into the process of presenting it, this project promises to be something truly exceptional.

The nearly completed set.

The nearly completed set.


Henry IV parts 1 and 2 opens in Shakespeare Glen in Forest Park on May 17th, and Henry V opens on May 24th, with both plays playing on alternating nights until June 15th.  For more information see the Shakespeare Festival St. Louis official website

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The Nerd
by Larry Shue
Directed by John Contini
Dramatic License Productions

May 2, 2014

Jason Contini, Taylor Pietz, B. Weller Photo by John Lamb Dramatic License Productions

Jason Contini, Taylor Pietz, B. Weller
Photo by John Lamb
Dramatic License Productions

Sometimes comedy is just comedy.  It doesn’t have to have any deep meaning or sharp social commentary, although some comedies do. Comedies can be complex or simple, as deep as a canyon or as light as a feather. Regardless of tone, however, the ultimate purpose of a comic play is to make its audience laugh, and Larry Shue’s outrageous and fast-moving The Nerd does that, and does it well.  One of two popular and hilarious comedies that serve as the late and gifted Shue’s artistic legacy (the other being The Foreigner), The Nerd is full of broad humor, strong performances and sharply paced action.  This latest production from Dramatic License Productions, performed in their converted storefront space in Chesterfield Mall, provides all the expected laughs and then some.

The plot is relatively simple, set in 1980s Terre Haute, Indiana and revolving around mild-mannered architect Willum Cubbert (Jason Contini), who is preparing to celebrate his 34th birthday, assisted by his semi-serious girlfriend Tansy (Taylor Pietz) and their best friend, acerbic theatre critic Axel (B. Weller).  Willum’s life is comfortable, if not especially fulfilling as he deals with Tansy’s plans to move out of town for a job, and working on a lucrative-but-frustrating job designing a hotel for a particularly demanding boss, Warnock “Ticky” Waldgrave (John Reidy), who has been invited to Willum’s birthday party along with his nervous wife (Nicole Angeli) and unruly young son (Hayden Benbenek).  The birthday plans, and Willum’s life in general, are disrupted in spectacular fashion with the arrival of Rick Steadman (Mike Wells), who is credited with saving Willum’s life years before when both were serving in the Army in Vietnam.  Rick is unusual, to say the least, with an off-the-chart degree of social awkwardness and distracting habits like practicing his tambourine at all hours, making  the birthday guests uncomfortable with his strange stories and unusual party games, and completely imposing on Willum’s good manners and hospitality by moving in and basically taking over Willum’s life.  Confronted with the dilemma of how to get rid of Rick without hurting his feelings, Willum is forced to examine his life in various areas and ultimately make a choice between living according to his own convictions or living primarily to please those around him.

Although this isn’t a particularly deep play and it majors on outrageous characterization rather than intricate plotting, it is reasonably well-structured, with efficient use of foreshadowing as well as some clever jokes about theatre critics that I found especially ironic, being there to review the show myself.  Shue has done a good job of placing a few hints to the play’s somewhat surprising conclusion throughout the script, as well, and director John Contini and the excellent cast have managed to keep up the pacing and deliver all the jokes with utmost outrageous effect. The detailed and characterful set by Kyra Bishop and the well-suited costumes by Lisa Hazelhorst (particularly Rick’s goofy getup), along with the great use of some old standard songs before and during the show, helps to set and maintain the whimsical atmosphere.

The casting is excellent across the board, although the focus of the play is on Jason Contini’s determined nice-guy Willum, Weller’s charmingly snarky Axel, and Wells’s magnetically infuriating Rick. Contini plays the exasperated “everyman” role proficiently, while the increasingly wacky Wells commands the stage with geeky gusto, and Weller quietly steals several scenes with his precisely delivered witticisms and perfectly controlled curmudgeonly charm.  These three carry most of the action while the rest of the players lend strong support.  Pietz in particular plays well alongside Contini and Weller, and Reidy as the stuffy Waldgrave, Angeli as his high-strung wife have some great moments, as well, with young Benbenek displaying some strong slapstick abilities as the Waldgraves’ initially bratty and increasingly terrified son, Thor.

The Nerd is another good example of the quality work that can be found in theatre companies all around the St. Louis area. I’ve noticed that there seems to be an inherent reluctance among those who live in the city (myself included) toward making the long trek to Chesterfield because the city already has a lot to offer in terms of arts, restaurants and nightlife, and a theatre company based in a mall does sound kind of strange at first. Still, the professional atmosphere and overall quality of the productions at Dramatic License, and this current production in particular, makes the trip very much worth the extra effort.

John Reidy, Nicole Angeli, Mike Wells, Jason Contini Photo by John Lamb Dramatic License Productions

John Reidy, Nicole Angeli, Mike Wells, Jason Contini
Photo by John Lamb
Dramatic License Productions

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Joseph and the Amazing Technicolor Dreamcoat
Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed and Choreographed by Andy Blankenbuehler
Fox Theatre
April 29, 2014

Ace Young, Diana DeGarmo Photo by Daniel A. Swalec Joseph... National Tour

Ace Young, Diana DeGarmo
Photo by Daniel A. Swalec
Joseph… National Tour

Joseph and the Amazing Technicolor Dreamcoat has been produced many times over the years, and in many countries around the world. It may seem like the show has been done so often that it would be a challenge to come up with a version that’s both entertaining and vibrant without seeming at least somewhat stale. Now, the latest national tour has taken up that challenge and, for the most part, succeeded. Starring a pair of former American Idol contestants, this production manages to overcome a few technical missteps and present an incarnation of the show that’s engaging and can be a lot of fun.

The concept of this play is simple–it’s the Biblical story of Joseph (Ace Young) told in a pastiche format with a blend of different musical styles and concepts, with a Narrator (Diana DeGarmo) telling the story and sometimes interacting with the characters along the way. As Joseph undergoes his journey from entitled favored son to forced slavery in Egypt and finally to a place of prominence in the Egyptian government and reconciliation with his family, his adventures are portrayed mostly with humor, dance. spectacle, and a little bit of drama. The cast of characters is familiar, with the figures from the Bible fleshed out as more stylistic archetypes, most notably with Pharaoh (Ryan Williams), who is cast as an attention-loving Elvis impersonator.

This show has been told many different ways over the years, although it seems the prevailing style for the past two decades has been based on the 1991 London Palladium revival, with its flashy sets, children’s chorus, expanded role for Joseph and the added “Megamix” song-and-dance medley at the end.  The previous live versions I’ve seen have followed that mold, for the most part. Refreshingly, this latest tour gets away from that format, with a structure and song order more in keeping with the 1982 Original Broadway production. This version has an all-adult ensemble, Potiphar (William Thomas Evans) sings lead on his song, and Joseph’s notable song “Any Dream Will Do” doesn’t appear until late in the show, as it had been before the 1991 revival set the new standard. Although the Megamix is still added on to the end, it’s interesting to see the show performed with the older structure, which puts more emphasis on the narrator and the ensemble than on Joseph himself.

The ensemble here is a good one, led by husband-and-wife American Idol alums Young and DeGarmo.  The role of Joseph is somewhat slight and really just requires a reasonably good singer with a degree of physical fitness, and Young more than fits that bill. His voice is pleasant but not as powerful as other Josephs I’ve seen, and he plays the role with a somewhat distracting slouch, although he brings a wide-eyed, almost geeky quality to Joseph that is ultimately appealing. DeGarmo as the Narrator displays a lot of energy, stage presence and strong vocal ability, especially in her lower range and on big belty numbers like “Paraoh’s Story”. She tends to sound squeaky on some of the higher notes, but that may not be entirely her fault, as the sound quality isn’t great and lends something of a muddled quality to a lot of the vocals.  DeGarmo interacts well with the ensemble and she has great onstage chemistry with Young, especially in their duet of “Any Dream Will Do” late in the show.  There’s also an excellent ensemble here, with Williams hamming it up winningly on “Poor, Poor Pharaoh/Song of the King”.  Several of the brothers shine in various moments of the show as well, such as Brian Golub (Reuben) in “One More Angel In Heaven”, Paul Castree (Simeon) in “Those Canaan Days” and Will Mann (Judah) in “Benjamin Calypso”.  “Those Canaan Days” in particular is a treat, with excellent performances all around and some fun choreography involving juggling plates.

Stylistically, the set (designed by Beowulf Borritt) is simple and clever, with a few movable set pieces, a prominent staircase and curtains framing the scenes and serving as a canvas for the excellent projections (designed by Daniel Brodie).  The projections range from the abstract (various colorful shapes and patterns) to the concrete (such as a map of Egypt), and are cleverly used to set the mood and transition between scenes. There’s even one notable moment in which ocean scenes are projected on the backs of ensemble members, clad in flowing white robes. Director Andy Blankenbuehler’s staging and choreography is snappy and energetic, as well, with some fun stylistic callbacks to other musicals such as West Side Story (“Poor, Poor Joseph”) and Oklahoma! (“One More Angel in Heaven”), and fun elements such as the aforementioned dish-juggling sequence. The quality of the sound (designed by John Shivers and David Patridge), is cluttered and muddy, however, and the lighting (designed by Howell Binkley) is often too dark, and these flaws can be distracting but for the most part, don’t detract too much from the overall enjoyable nature of the show.

This isn’t the first production of Joseph… I’ve seen and, as popular as it is, I’m sure it won’t be the last. Still, this latest tour has managed to make an impression and provide for an enjoyable evening of lighthearted entertainment.  With two appealing leads and a strong ensemble, this production stands out as an enjoyable evening and a memorable retelling of this oft-told story.

Ryan Williams, Ace Young Photo by Daniel A. Swalec Joseph... National Tour

Ryan Williams, Ace Young
Photo by Daniel A. Swalec
Joseph… National Tour

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