Archive for May, 2023

The Black Rep’s “Eubie!” is a Dynamic, Melodic Tribute to a Musical Legend

Posted in St Louis Theatre, tagged , , , , , , , , , on May 10, 2023| Leave a Comment »

Eubie!
Music by Eubie Blake
Conceived and Originally Directed on Broadway by Julianne Boyd
Directed by Ron Himes
Choreographed by Heather Beal and Vivian Watt, with Tap Choreography by Robert Crenshaw
The Black Rep
May 5, 2023

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

Eubie Blake was a composer and musician who made a big impact in the entertainment world, especially in terms of representation for Black performers, artists, and audiences. A few of his songs have endured as classic jazz/pop standards. Here in St. Louis, the Black Rep is paying tribute to Blake in staging the lively, memorable revue Eubie! Featuring a strong cast and impressive choreography, the show is a fitting tribute to Blake, as well as a memorable introduction for those who may not be as familiar with his work. 

For me, this show is an educational experience. I had heard of Eubie Blake, and particularly his song “I’m Just Wild About Harry” and his 1921 musical Shuffle Along, that was the source for a “making of” Broadway Production a few years ago. The majority of his work was new to me, however, and this revue, with its excellent singing, dancing, and presentation, is an ideal further introduction. There isn’t a story here, really. Essentially, the show sets songs by Blake and his collaborators in a number of routines, most of which have a glitzy 1920s style and mood, performed on a simple, versatile set by Tim Jones that features an Art Nouveau style flourish, with excellent stylized lighting by Jasmine Williams, vibrant costumes by Marc W. Vital III, and backed by a first-rate band led by musical director and pianist Joe Dreyer. 

The choreography, by Heather Beal and Vivian Watt, with tap choreography by Robert Crenshaw, is spectacular, and Crenshaw is a standout performer in the cast, wowing the audience with a series of athletic tap routines and strong stage presence on songs like “I’m Just Wild About Harry” (along with Evann De-Bose, Samantha Madison, and Tamara PiLar) and “Hot Feet”. The cast also features  DeAnté Bryant, Serdalyer Darden, Venezia Manuel, Carvas Pickens, and J’Kobe Wallace, with Taijah Silas as an understudy.  All the cast members get their moments to shine, either as individuals or in group performances. Other notable moments include De-Bose’s heartfelt “Memories of You” and Boyce’s “Craving for That Kind of Love”. The ensemble singing and dancing is uniformly strong, with strong harmonies and a great deal of energy. 

Overall, Eubie! is an entertaining, highly engaging production that captures the early 20th Century atmosphere and musical style especially well. Even though it doesn’t have a plot, it tells a story–of a composer and of the times in which he lived–through music and dance. It’s a memorable conclusion to the Black Rep’s 2022-2023 season. 

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Eubie! at Washington University’s Edison Theatre until May 21, 2023

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Midnight Company’s “Leonard Pelkey” is a Compelling, Emotionally Resonant Production

Posted in Uncategorized, tagged , , , , , , on May 10, 2023| Leave a Comment »

The Absolute Brightness of Leonard Pelkey
by Celeste Lecesne
Directed by Alicen Moser
The Midnight Company
May 6, 2023

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is currently back onstage with a poignant, emotional production that features Joe Hanrahan doing what he’s perhaps best known for–a one-man show. The Absolute Brightness of Leonard Pelkey isn’t a one character show, however. Hanrahan gets to show his versatility here, telling a short but powerful story and playing a variety of roles, creating a memorable, remarkably affecting portrait of a small town in turmoil, and one character we never actually “meet” who makes the most profound impact of all. 

Hanrahan narrates the story as Chuck DeSoto, a police detective in a small New Jersey town who is remembering the case that has affected him the most. The flashback format has DeSoto offering commentary on the proceedings as the story unfolds, and Hanrahan deftly morphs into the various players, starting when hair salon owner Ellen Hertle and her teenage daughter Phoebe walk into the police station to report a missing person. Leonard Pelkey is a 14-year-old boy who Ellen has been raising after his mothers’ death. Leonard has only been in town for about two years, but he’s already made an impression, with his “weird” theatrical personality and offbeat sense of personal style. It’s made fairly clear that Leonard is gay, as well, and he’s experienced a great deal of bullying at school. As the story unfolds, the efforts to find what’s happened to Leonard unfold like a mystery story, and although there are sad and even tragic elements, there are also moments of hope, as we meet a series of characters who have been affected by Leonard in various ways, including the concerned Ellen; conflicted Phoebe; Buddy Howard, Leonard’s British-born drama instructor; clock repairman Otto Beckerman; and others. As the truth is discovered, we get to learn more about the various characters and their motivations–especially Phoebe, who is perhaps the most well-drawn character here besides Chuck. Also, even though Leonard never actually “appears” onstage, his character seems just as real as the others, and his influence pervades every moment. 

It’s a short play, but especially well-constructed, and Hanrahan does an excellent job playing the various distinctive characters, especially Chuck, Phoebe, Ellen, and Otto. Hanrahan’s handles the humor and the drama well, and the pacing is excellent. Tony Anselmo’s lighting also adds much to the overall mood of the show.

The playwright, Celeste Lecesne, is also a co-founder of The Trevor Project, which provides a crisis hotline and other resources for LGBTQ+ youth. The theme of  this show highlights the difficulties that young gay teens can endure, as well as the positive impact that one boy’s life can make on those around him, even in such a short time.  The play also  features an over-arching theme of individual expression and the importance of community support and respect. It’s a memorable effort from Joe Hanrahan and The Midnight Company.

Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Absolute Brightness of Leonard Pelkey at the Kranzberg Arts Center until May 20, 2023

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Tesseract Theatre Company stages a Vibrant, Somewhat Mixed-Up “Welcome”

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on May 4, 2023| Leave a Comment »

Welcome to Arroyo’s
by Kristoffer Diaz
Directed by Brittanie Gunn
Tesseract Theatre Company
April 29, 2023

Victor Mendez
Photo: Tesseract Theatre Company

Welcome to Arroyo’s! That’s the name of Tesseract Theatre Company’s latest show, currently being staged at the .ZACK Theatre. Production-wise, it’s vibrant and fun, with an energetic cast. The play itself can be frustrating in its structure at times, but for the most part it’s an intriguing journey into the world of a small New York City bar, its staff and would-be regulars, with a lively, mostly hip-hop soundtrack.

The story, narrated alternatingly by aspiring rap duo Nelson (Kevin Corpuz) and Trip (Jacob Schmidt), and by earnest grad student Lelly (Hannah de Oliveira), follows three main threads, as Alejandro (Victor Mendez) strives to turn his mother’s former bodega into a thriving bar; Alejandro’s younger sister Molly (Remi Mark), a graffiti artist, looks to establish a name for herself despite run-ins with the police, including Officer Derek (Marshall Jennings), with whom she develops a reluctant attraction; and Lelly’s quest to discover the identity of an influential figure in the early hip-hop scene, about whom she’s writing a thesis. These stories all intersect at various points, with the bar as the central locale, but really, it’s a story about hopes, dreams, personal history, family connections, and the role of a community in the lives of its residents, and vice versa.

It’s a compelling story, for the most part, with memorable characters, a good dose of humor, and excellent use of music. Still, the structure can be a little difficult to follow at times, as each plot keeps putting off key revelations in ways that seem more designed to frustrate the audience than to really drive the story. At Tesseract, the story is well-played, though, with the characters and memorable performances bringing energy to the overall presentation, along with vibrant production values.

The production manager is Sarah Baucom, but there’s no credit given to the set designer or projection designer, although the simple but effective set and memorable projections provide much of the overall atmosphere. Also contributing to the mood are Tony Anselmo’s eye-catching lighting and Jaz Tucker’s excellent sound design. The hip-hop soundtrack and use of other music adds much to the overall energy of the show.

As for the cast, the standouts here are Corpuz and Schmidt, who are both hilarious and personable as the aspiring hip-hop artists who work at the bar. Much of the play’s energy and humor comes from these two, and they energize all the scenes they are in. Mark and Jennings are also strong as the rebellious Molly and somewhat weary but well-meaning cop Derek, who has his own identity issues to deal with concerning sharing his name with a celebrity. Mendez also puts in a solid performance as Alejandro, making the most of a part that isn’t given much to do beyond being alternately sad and determined; and de Oliveira is fine as Lelly, although she could use more energy in some moments. Overall, it’s a cohesive cast that makes the most of this show’s oddly organized script.

While the script is not without its flaws, Welcome to Arroyo’s is a compelling story with good characters and lots of humor and heart. It’s a show about relationships between people, as well as between artists and their art, and individuals and the communities in which they live.  At Tesseract, it’s an entertaining and thoughtful production.

Remi Mark, Marshall Jennings
Photo: Tesseract Theatre Company

The Tesseract Theatre Company is presenting Welcome to Arroyo’s at the .ZACK Theatre until May 7, 2023

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WEPG Presents an Entertaining, Educational “Finale”

Posted in St Louis Theatre, tagged , , , , , , , , on May 4, 2023| Leave a Comment »

Finale
by Vladimir Zelevinsky
Directed by Steve Callahan
West End Players Guild
April 28, 2023

Sadie Harvey, Paula Stoff Dean, Timothy McWhirter, Matt Anderson
Photo by John Lamb
West End Players Guild

West End Players Guild’s latest play is a somewhat ambitious endeavor that can be difficult to categorize in terms of comedy or drama, considering the marked difference in tone between the first and second acts. Still, Finale is an engaging look at famed opera composer Gioacchino Rossini and some of his most important relationships, with a friend and producer, with his first wife, and with music itself.  As staged by director Steve Callahan and featuring a memorable cast, this show is at turns bright and energetic, and poignantly affecting.

Finale is the latest play from Vladimir Zelevinsky, who has had several productions premiered at West End Players Guild. This one will be especially appealing to fans of classical music and opera, and Rossini in particular. It focuses on two important periods in the composer’s life. In Act One, the young Rossini, played by Timothy McWhirter, is struggling to compose the Act One finale to The Barber of Seville, with little time to spare before the curtain rises on the production’s premiere in Rome. Backstage, the gifted but impulsive and amorous young composer deals with the impatience of his producer Domenico Barbaia, played by Matt Anderson, and flirts with renowned singer and Barbaia’s fiancée Isabella Colbran, played by Paula Stoff Dean. Rossini enlists Isabella’s help in working on his composition as the two banter and deal with their obvious attraction, as well as with unwelcome interruptions by Barbaia and other plot twists involving a young aspiring singer called Angel, played by Sadie Harvey, who is the source of several surprises.

The first act is lively, witty, and fast-paced, with a fair amount of physical comedy involved, but the second act offers a striking contrast. Taking place years later in Paris, the story revisits Rossini as a tired, jaded writer who is absorbed in his work but struggles to write something new and original. Isabella is neglected and hopes to take her husband to a new home and revitalize their relationship, and Barbaia has a new offer for the composer from the King of France himself. Angel is there too, although in this act she’s more of a fantasy or memory, and the overall tone is more dramatic and melancholic. The contrast in the situations emphasizes the difference in Rossini’s character as he has grown from young, energetic and impulsive to older and more regretful. 

In a way, this story almost seems like two plays in one, but it works largely because of the excellent performances of McWhirter as the charming and unpredictable Rossini, and Dean as the talented, hopeful but eventually neglected Isabella. These two are the heart and soul of this production, with strong chemistry and stage presence. Harvey is also excellent, particularly in her comic moments in the first act, and as a sounding board for Rossini’s regrets in the second. Anderson, for his part, is a little difficult to believe as the somewhat clueless Barbaia of the first act, but he is much more believable in act two as the enterprising older impresario. 

Technically, the show has a striking, period-appropriate look, with stylish scenic design by Ken Clark and excellent lighting by Nathan Schroeder and sound by Chuck Lavazzi. Tracey Newcomb’s costumes are also memorable, with period-specific detail that lends much to the overall tone of the show in both acts, reflecting the change in fashion over the years. The pacing is brisk and energetic, especially in the more farcical first act, while becoming a bit more deliberate in the more reflective second act.

Overall, Finale is a promising work that I’m thinking will appeal especially to viewers who are familiar with Rossini and his work, as well as the technical aspects of reading and writing music. It’s also an educational experience for those who aren’t as familiar with these subjects. It’s another fascinating work from Zelevinsky, who attended the opening night performance. With a good cast and excellent direction, this is a work of art worth seeing, hearing, and experiencing.

Paula Stoff Dean, Timothy McWhirter
Photo by John Lamb
West End Players Guild

West End Players Guild is presenting Finale at Union Avenue Christian Church until May 7, 2023

This review was originally published at kdhx.org

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