Archive for June, 2023

The Muny Brings Energy and Heart to Crowd-Pleasing “Beauty and the Beast”

Posted in St Louis Theatre, tagged , , , , , , , , , , on June 26, 2023| 1 Comment »

Disney’s Beauty and the Beast
Music by Alan Menken, Lyrics by Howard Ashman & Tim Rice
Book by Linda Woolverton
Directed by John Tartaglia
Chorographed by Patrick O’Neill
The Muny
June 23, 2023

Cast of Disney’s Beauty and the Beast
Photo by Phillip Hamer
The Muny

Disney’s Beauty and the Beast is a modern classic. Whether it’s the original animated film, the stage production, or the more recent live action film version, this story has found a large, enthusiastic audience over the years. Currently in St. Louis, the Muny is staging a huge, heartfelt production that especially showcases its two leads, as well as an energetic ensemble and some impressive production values. 

Considering its adaptations and the enduring popularity of the original movie, the Disney version of the classic tale is perhaps even more well-known than its source story, at least in America. It’s so popular that it has even spawned many memes and jokes, as well as fan theories that, although inaccurate in my opinion, are widely repeated. But  regardless of what you may think of the story, there’s little doubt that it’s popular, and that the iconic image of Belle in her gold dress and the Beast in his blue coat is easily recognizable by many. The stage show takes the familiar story, with all its iconic moments from the film, and fleshes it out a bit, including some darker moments that aren’t included in the original film, as well as some memorable new songs, and a bit more focus on the servants in the Beast’s castle, who have been transformed into household objects by the same spell that turned the selfish young Prince into a Beast, who is hoping to find true love so he and everyone in his household can become human again.

Belle is the focus character, as is usual, and she’s as strong-willed and intelligent as ever, while being seen as odd by her neighbors in a small French village, and as an object of vanity by the good-looking but self-obsessed Gaston. When Belle makes a deal with the Beast to free her father, the heart of the story is set into motion, and we see how she becomes a catalyst for the Beast’s self-reflection and eventual change. The stage show takes a little more time to explore this relationship, as well as the relationship between the Beast and his servants, including Lumiere, Cogsworth, and Mrs. Potts; as Gaston continues to plot to get his way, leading to an inevitable confrontation. 

The Muny and director John Tartaglia have assembled an excellent cast for this production, led by Ashley Blanchet in a terrific turn as a particularly strong-willed, relatable Belle. Blanchet also has a powerful voice that shines on solo songs like “Home” as well as production numbers like the opening song. Ben Crawford, as the Beast, is also excellent, with strong vocals, memorable stage presence, and excellent chemistry with Blanchet as well as a believable rapport with his household staff, who are all well-cast. Kelvin Moon Loh as the charming Lumiere and Eric Jordan Young as the fastidious Cogsworth especially stand out, and Ann Harada as Mrs. Potts also has some memorable moments, although her voice isn’t quite as strong as those of others I’ve seen in the role. There are also some fun moments from Debby Lennon as opera singer-turned-wardrobe Madame de la Grande Bouche, Holly Ann Butler as maid-turned-feather duster Babette, and Michael Hobin as Mrs. Potts’s son Chip, who has been transformed into a teacup. Claybourne Elder hams it up impressively as the villainous Gaston, as well, matched by Tommy Bracco in a hilarious performance as sidekick LeFou. There’s also a strong ensemble playing everyone from townspeople to enchanted objects, who lend energy and enthusiasm to the production numbers, memorably choreographed by Patrick O’Neill and occasionally featuring some eye-catching pyrotechnics.

Visually, the show is recognizable as the Disney classic while also featuring its own spin on the classic look. The set by Ann Beyersdorfer is versatile and detailed, aided by memorable video design by Greg Emetaz, which for the most part is excellent, although there is one unintentionally humorous video moment late in the show that detracts from the overall weight of an important scene. The lighting by Jason Lyons and detailed costumes by Robin McGee also add to the entertaining and occasionally thrilling atmosphere of the production, along with some whimsical puppets designed by Andy Manjuck and Dorothy James. There’s also a great Muny Orchestra led by music director Ben Whiteley, playing that lush, melodic score with style.

Disney’s Beauty and the Beast at the Muny is, for the most part, a rousing success. It’s a classic tale of love, compassion, and standing out from the crowd, brought to Forest Park again with wit, style, and and occasional touches of whimsy, melancholy, and glamour. Although some moments may be scary for very young children, this is a show that should appeal to all ages, and the crowd certainly loves it. It’s another entertaining entry in the Muny’s 2023 season. 

Ashley Blanchet, Ben Crawford
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Beauty and the Beast in Forest Park until June 30, 2023

This review was originally posted at kdhx.org

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The Muny’s Thoughtfully Staged “Beautiful” Opens the Season in Style

Posted in Snoop's Soapbox, tagged , , , , , , , , , , on June 14, 2023| Leave a Comment »

Beautiful: The Carole King Musical
Book by Douglas McGrath
Words and Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil
Directed by Marcia Milgrom Dodge
Choreographed by Patricia Wilcox
The Muny
June 13, 2023

Steven Good, Sara Sheperd, Noah Weisberg, Jarrod Spector, Jackie Burns
Photo by Phillip Hamer
The Muny

The Muny’s 105th season has begun in Forest Park, and it’s off to a great start. Beautiful: The Carole King Musical is making a strong impression way beyond simple nostalgia. With a great cast, excellent production values, and thoughtful staging, it’s a tribute not just to a great singer-songwriter, but to several musical eras and the overall evolution of the pop music scene. 

As the title says, this show is about Carole King, the legendary singer-songwriter known for her collaborations with first husband Gerry Goffin, as well as her celebrated solo career. Even though King’s career went beyond the early 1970s, this show focuses mostly on her formative years, beginning and ending in 1971 and framed as a reflection/flashback showing how King got to this point, a concert at Carnegie Hall supporting her famous album Tapestry. From that legendary stage, we go back to Brooklyn in the late 1950s, where teenage Carole (Sara Sheperd) is a college student and aspiring songwriter, even though her mother, Genie (Sharon Hunter) wants her to be a teacher. Carole is persistent, and heads to Times Square and the office of record producer Don Kirschner (Noah Weisberg), who buys her first song. Soon, she finds herself struggling to write good lyrics, and meets Gerry Goffin (Steven Good), who becomes her writing partner and, eventually, her husband. The story then follows their success as songwriters and the development of the music industry and the trends in music, as well as Carole and Gerry’s friendship and professional rivalry with fellow songwriting couple Cynthia Weil (Jackie Burns) and Barry Mann (Jarrod Spector). The story also covers Carole’s personal struggles with her increasingly difficult marriage, as well as her development as an artist in her own right. 

I’ve seen this show before, when the national tour based on the Broadway production came to the Fox Theatre. That was an excellent production, and I was sort of expecting a similar staging at the Muny, but this isn’t a replica of that staging. As directed by Marcia Milgrom Dodge and featuring a dynamic set by Ryan Douglass, this show evokes the look, sound, and overall vibe of the era with an always moving but also reflective energy. The costumes by Tracy Christensen fit the characters well and illustrate the changing times with style. There’s also dazzling lighting by Rob Denton and excellent video design by Kylee Loera. The Muny Orchestra, led by music director Charlie Alterman, does an excellent job with the familiar score of pop hits by King and a variety of others including the Shirelles, the Righteous Brothers, The Drifters, and more. 

As for the cast, Sheperd makes an ideal Carole King, with her strong vocals and relatable stage presence. Sheperd manages to do justice to King’s hit songs as well as portraying the artist as she grows and matures. Sheperd works especially well with Good, who’s impressive as the increasingly troubled Goffin; as well as Burns and Spector, who display strong chemistry and great voices as Weil and Mann. There’s also excellent work from Weisberg as the ambitious, encouraging Kirschner, and Hunter as King’s supportive mother. The ensemble, playing a variety of roles from famous recording artists, to fans, to friends, is also memorable, contributing to the story with energy and strong vocals. 

It was a packed audience on press night, full of appreciative fans who clapped along to the music, danced in their seats, and contributed to the enthusiastic Muny atmosphere on a truly beautiful evening in Forest Park. This production of Beautiful certainly lives up to its title. It’s a thoughtfully staged, ideally cast show that serves as a magnificent beginning to a promising Muny season.

Sara Sheperd (Center) and Cast of Beautiful: The Carole King Musical
Photo by Phillip Hamer
The Muny

The Muny is presenting Beautiful: The Carole King Musical in Forest Park until June 18, 2023

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Albion’s “Absent Friends” Features Incisive Comedy, Strong Cast

Posted in St Louis Theatre, tagged , , , , , on June 13, 2023| Leave a Comment »

Absent Friends
by Alan Ayckbourn
Directed by Robert Ashton
Albion Theatre 
June 9, 2023

Mike DePope, Jason Myers, Ben Ritchie, Nicole Angeli, Anna Langdon, Annalise Webb
Photo by John Lamb
Albion Theatre

Albion Theatre is continuing their latest season with a work by one the UK’s most prolific playwrights. Alan Ayckbourn’s Absent Friends is a comedy with dark undertones, examining the relationships among a group of friends in 1970s England. As directed by Albion’s artistic director Robert Ashton, it’s a precisely paced showcase for an impressive cast of local performers. 

The play follows the story of a group of old friends who are involved in several awkward situations, including suspicions of infidelity, as well as social aspirations, personal grief, and strains on longtime friendships, all handled with at least an attempt at the veneer of British politeness as Diana, played by Nicole Angeli, prepares for a tea party welcoming back visiting and grieving friend Colin, played by Ben Ritchie. Diana is married to Paul, a somewhat haughty successful businessman played by Jason Meyers, but she’s having doubts about his fidelity in the marriage, suspecting him of an affair with Annalise Webb’s somewhat frosty Evelyn, who is married to their friend John, played by Mike DePope. Diana’s friend Marge, who is played by Anna Langdon, tries to encourage Diana and question Evelyn, but soon the frequently restless John arrives and the awkward waiting begins. When Colin finally arrives, he’s eager to talk about his late fiancée Carol, whom none of the group had a chance to meet.  What ensues is an astute examination of the state of the various relationships, including marriages, friendships, and business connections, as well as a look at ambition, mortality, and social obligations in British society. It’s all so deliberately plotted and paced, with excellent use of long pauses in dialogue, unspoken reactions, and the occasional well-placed vocal outburst. 

The cast is well-chosen, led by Angeli in an expertly measured performance as the suspicious, gradually unraveling Diana. Ritchie is also memorable as the grieving but affably intrusive Colin. Meyers, as the upwardly mobile, emotionally clueless Paul, is also strong, as is Langdon as the somewhat Pollyanna-ish Marge. DePope, as the always-moving, insecure John, and Webb as the snarky Evelyn are also excellent. Ensemble chemistry is essential in a story like this, as the various interactions and personality differences are the source of much of the comedy, as well as the tension. It’s all paced with precision by director Ashton, and the players work together well.

The costumes, by Tracey Newcomb, are notable highlight on the technical side, with much attention paid to the details of 1970s fashion, and the characters are outfitted ideally according to their personalities. Erik Kuhn’s set is also impressive in its period style and décor. The lighting by Michelle Zielinski, props by Gwynneth Rausch, and sound by Jacob Baxley also contribute well to the overall atmosphere of the story.

Absent Friends is classified as a comedy, and there’s a lot of humor here, but there’s  a fair amount of drama simmering below the surface, as well, and occasionally emerging in an explosive manner. This is a well-crafted show set in a specific time and place, although it features several timeless themes. It’s another intriguing production from this still relatively new theatre company.

Nicole Angeli, Ben Ritchie, Annalise Webb
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Absent Friends at the Kranzberg Arts Center until June 25, 2023

This review was originally published at KDHX.org

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SDT Entertains with Campy, Energetic “Vampire Lesbians of Sodom”

Posted in Uncategorized, tagged , , , , , on June 12, 2023| Leave a Comment »

Vampire Lesbians of Sodom
by Charles Busch
Directed by Gary F. Bell
Stray Dog Theatre
June 10, 2023

Sarajane Clark, Greta Johnson, Victor Mendez, Zander Huber
Photo by John Lamb
Stray Dog Theatre

The latest production from Stray Dog Theatre is from celebrated playwright and drag artist Charles Busch, who seems to be a favorite of this theatre company, since they’ve performed several of his works in the past. Vampire Lesbians of Sodom is a fairly short play, but it packs a lot of laughs into its roughly 70 minute running time, featuring Busch’s campy style and an energetic cast who all seem to be having a great time on stage.

The story is told in three scenes, starting in the infamous biblical city of Sodom, then moving into glamorous 1920’s Hollywood, and finally arriving in glitzy 1985 Las Vegas. Most of the actors play a variety of roles, with notable exceptions being the two main characters, La Condesa Scrofula de Hoya (Sarajane Clark) and Madelaine Astarté (Xander Huber), whose rivalry lasts for many centuries. I won’t give too much away, because that might spoil the fun, but basically, it includes quests for amorous conquests, the blood of virgins, ambitious movie stars, and lots of stylized melodrama. It’s actually a fairly thin plot, but the point isn’t the plot, really. 

The point here appears to be letting the actors ham it up as much as possible, and they do that with impressive enthusiasm, led by the gloriously theatrical Clark and Huber, who make the most of their roles as glamorous, seemingly ageless rivals. The rest of the cast includes Rachel Bailey, Greta Johnson, Victor Mendez, Nara, and Sean Seifert, most of whom play a variety of roles, with Seifert a standout in a hilariously physical performance as Las Condesa’s sycophantic butler in the Hollywood sequence. Johnson also makes a humorous impression as two different young, seemingly clueless aspiring starlets, and Mendez gleefully overacts his role as a movie star and jealous boyfriend. The staging is fast-paced and energetic, with moments of physical comedy, witty banter, and all that hilariously overdone emoting.

The set, by Rob Lippert, is appropriately versatile, featuring a mountainous backdrop that is modified with signage in the Hollywood and Vegas scenes. There are also gleefully whimsical costumes by Colleen Michelson and wigs by Sarah Gene Dowling. Tyler Duenow’s lighting and Justin Been’s sound also contribute to the humorous tone of the production.

Overall, Vampire Lesbians of Sodom is a broadly comic show that revels in its own silliness. With its use of language and innuendo, it’s not for everyone, but it’s a fun showcase for its enthusiastic cast. Fans of bawdy, campy comedy, and particularly those who appreciate the works of Charles Busch, should especially enjoy this show. 

Xander Huber, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Vampire Lesbians of Sodom at the Tower Grove Abbey until June 24, 2023

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ERA’s “Brechtfast Club” is an Intriguing, Humorous Experiment

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

The Brechtfast Club
by Courtney Bailey and Lucy Cashion
Directed by Lucy Cashion
ERA
June 8, 2023

Reginald Pierre, Maggie Conroy, Rachel Tibbetts
Photo by Jason Hackett
ERA

ERA is an innovative, experimental theatre company that often presents their own twists on classic works. Their latest production, at the Chapel arts venue, is an exercise in theatre history as well as world history by way of pop culture nostalgia and an examination of world events, presented in the style of 20th Century playwright and director Bertolt Brecht. Following the story is easier if you’re at least somewhat familiar with the plot and characters of The Breakfast Club, and a degree of reading about Brecht would help as well for those unfamiliar with his work, because this knowledge certainly adds to the overall experience. It’s a relatively short play, but there’s a whole lot going on here, presented by an enthusiastic cast and creative team.

The show is billed as an adaptation/parody of the classic 1980s John Hughes film The Breakfast Club, presented in the style of Brecht. The play uses many Brechtian elements, such as narration by stage manager Jimmy Bernatowicz, visible stage crew and elements of stagecraft, written signs, and more. It’s inventive in that it both resets the story and directly examines the original source. The setting is East Germany, and the time is the mid 1980s, and the characters are all member of the Stasi, the East German secret police, each corresponding to a specific character from the film. There’s Sergeant Comrade Alina (Ashwini Arora), along with Major Comrade Klara (Maggie Conroy), Major Comrade Andreas (Miranda Jagels-Fèlix), Captain Comrade Bruno (Reginald Pierre), and Captain Comrade Bertha (Rachel Tibbetts), who are all assigned various tasks by their supervisor, Colonel Commander Veit (Alicen Kramer-Moser). There’s also Comrade Josef (Joe Taylor), who provides musical accompaniment and occasionally gets up from the keyboard to film the characters as the story plays out, with the film being displayed in real time. 

The characters are assigned to surveil a group of Americans in a town called Shermer, and as Bruno plays the transmissions, the Breakfast Club connection becomes even more clear. The resulting interpretation of the movie’s events by the their unwitting East German Counterparts forms much of the humor of this piece, along with the hyper-serious line delivery and consistently stilted dialogue. The players are all excellent, across the board, portraying their characters with insistent seriousness. It’s a strong ensemble all around, with each character contributing to the overall mood and humor with equal energy.

The look of this piece is distinctively styled and striking, with excellent work from director/designer Lucy Cashion, as well as composer/music director/videographer Taylor, whose work provides much of the underlying atmosphere of the production. There’s also impressive detailed work from lighting designer Morgan Brennan, as well as costume designer Liz Henning, who outfits the cast in detailed, character and era specific attire.

This is striking play–a hilarious comedy in one sense, but an examination of cultural political differences in another sense.  The juxtaposition of the theatrical setting with the world of the film allows, in keeping with Brechtian theory, for the audience to “detach” and examine the cultural and political implications of the story without getting too absorbed in the illusion of reality. It’s obvious this is a play, examining a movie. It’s also a truly fascinating theatrical exercise. 

Alicen Kramer-Moser, Rachel Tibbetts, Maggie Conroy, Ashwini Arora, Reginald Pierre
Photo by Jason Hackett
ERA

ERA is presenting The Brechtfast Club at The Chapel until June 11, 2023

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STAGES Dazzles with Poignant, Powerful “Aida”

Posted in St Louis Theatre, tagged , , , , , , , , , on June 9, 2023| Leave a Comment »

Aida
Music by Elton John, Lyrics by Tim Rice
Book by Linda Woolverton, Robert Falls, and David Henry Hwang
Directed and Choreographed by Luis Salgado
STAGES St. Louis
June 7, 2023

Wonu Ogunfowora (center) and Cast of Aida
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is back for another season, and their first production is spectacular. With a stellar cast and truly spellbinding production values, Elton John and Tim Rice’s Aida has made an indelible impression on audiences. Its a poignant, compelling story, as well as showcase for a great deal of astonishing talent, including some very welcome returning artists and some excellent STAGES newcomers.

With the exception of a framing device at the beginning and end, the story is set in ancient Egypt, during a war between Egypt and the country of Nubia. The Nubian princess Aida (Wonu Ogunfowora) is captured early in the story along with some of her countrywomen, and is brought into slavery in Egypt. The strong-willed Aida stands up to the military leader who captures her, Captain Radames (Ace Young), and both feel drawn to one another, with initial reluctance especially on Aida’s part. As for Radames, he’s engaged–for nine years–to the Pharaoh’s daughter, the initially flighty Princess Amneris (Diana DeGarmo), who loves Radames but increasingly doubts that he feels the same way about her. Meanwhile, Radames’ scheming father, chief minister Zoser (Ryan Williams) schemes to get his son on the throne as soon as possible, and the enslaved Nubians spurred on by the determined Mereb (Albert Jennings) hope to someday return to freedom in their home country. As the attraction between Aida and Radames grows, she keeps her identity as a princess secret, but forces are conspiring against them and threaten their hope of a future together, as well as the hopes of the Nubians and anyone who desires peace and freedom. The memorable score by Elton John and lyrics by Tim Rice help to drive the story that features timeless themes of striving for love, hope, freedom, and the terrors of greed and injustice. 

The cast here is wonderful, with standout performances from all three main leads, as well as the rest of the cast. The anchors, though, include the stellar Ogunfowara as the strong-minded Aida, with a powerful voice on songs like “Easy as Life” and her memorable duets with the also excellent Young, who has a pleasant tenor voice and brings a sense of warmth to Radames that rises to the surface as his relationship with Aida grows. DeGarmo as Amneris is another significant standout, with her sheer stage presence and remarkable vocals, as well as her ability to portray her character’s progression from flighty and sheltered to more self-aware and determined, as demonstrated remarkably in her two big songs–the energetic “My Strongest Suit” in the first act, and the more emotional, expertly sung “I Know the Truth” in the second. Other notable performances include Jennings, who is thoroughly convincing as the idealistic Mereb; and Williams, who revels in every oily moment as the nefarious, scheming Zoser. There’s a strong supporting cast with no weak links, as well as excellent vocals all around, with memorable group numbers like “The Gods Love Nubia” showcasing their talents, as well as the stunning choreography by director/choreographer Luis Salgado, who makes a triumphant return this year after last year’s excellent In the Heights. 

Technically, this show also dazzles, with all the elements blending together to tell this compelling story. The versatile set, by Kate Rance, features neon pyramids that go along with the bright “glow stick” like rods that are used to great effect in the choreography. Herrick Goldman’s lighting is also superb, contributing to some truly spectacular effects as the story unfolds, and Brad Musgrove’s meticulously detailed costumes are equally impressive, lending a bit of edgy modern twist to the ancient Egyptian setting and motifs. The orchestra, led by music director Erika R. Gamez, sounds great, bringing power to the already excellent score. 

It was great to see Executive Producer Andrew Kuhlman onstage after the curtain call, bringing many of the backstage crew and creatives to the stage for a well-deserved ovation. There’s a lot of talent involved in this production of a timeless story poignantly and memorably told.  Simply speaking, Aida at STAGES is a production that’s not to be missed. 

Diana DeGarmo, Ace Young, and Cast of Aida
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is presenting Aida at the Kirkwood Performing Arts Center until July 2, 2023

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New Line’s Fun “Forum” Highlights Humor, Excellent Singing

Posted in St Louis Theatre, tagged , , , , , , , , , on June 7, 2023| Leave a Comment »

A Funny Thing Happened on the Way to the Forum
Music and Lyrics by Stephen Sondheim
Book by Burt Shevelove and Larry Gelbart
Based on the plays of Plautus
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kernan
New Line Theatre
June 3, 2023

Kent Coffel (center) and Cast of A Funny Thing Happened on the Way to the Forum
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s latest production is of a well-known show, featuring a score by a legendary composer and a book by two veteran comedy writers. A Funny Thing Happened on the Way to the Forum, based on the works of ancient Roman playwright Plautus, was a hit in the 1960s and has been performed in various venues since then. It does have its dated elements, but at New Line, as usual, there are some new perspectives that emerge. For the most part, this is a show that revels in its humor, and at New Line, the focus is on the strong singing of Stephen Sondheim’s memorable score.

The story is framed as a performance by a dramatic troupe that decides, for this day’s performance, they will be staging a comedy. What results is a slapstick farce set in Roman times, centering on Pseudolus (Kent Coffel), who is a slave in one of the three houses featured in the story. He serves Hero (Ian McCreary), the son of Senex (Robert Doyle), who is heading out of town with his controlling wife Domina (Ann Hier Brown) to visit her family. While they are away, Pseudolus works on a plan to gain his freedom after he notices that Hero has fallen for a young woman he’s seen in the window of the neighboring house, which is essentially a brothel operated by Marcus Lycus (Jason Blackburn). Soon, they find out that the object of Hero’s ardor, the virginal Philia (Sarah Wilkinson), has been purchased sight unseen by the narcissistic general Miles Gloriosus (Danny Brown), who is due to arrive soon to make her his bride. Pseudolus’s plan gets more complicated as the story goes on, much to the frustration of Senex’s chief slave Hysterium (Chris Moore), who reluctantly gets brought into the scheme. Meanwhile, the elderly Erroneus (Gary Cox), who lives in the other neighboring house, returns to town after a long absence, still looking for his long-lost children who were captured by pirates years previously. How all these stories fit together is the source of much of the comedy, which is portrayed here by an enthusiastic cast who are all in excellent voice. 

I had seen this show once before, at the Muny a few years ago. Obviously, a small company like New Line isn’t going to have the elaborate production values or huge stage of the Muny, but New Line has become adept at scaling shows down for its venue, as well as bringing out nuances in stories that bigger productions can gloss over. You could say that there isn’t much room for nuance in a show like Forum, with its broad, bawdy comedy and plot that relies on old standard devices like mistaken identity and mixed-up romance, but while it’s still a broad farce, I found myself looking differently at some of the characters here, such as Domina, who comes across here much better than her lecherous husband, Senex. The dated features of the story are here, with the women being the focus of the jokes much of the time, but the overall silliness here takes precedence, for the most part.

In terms of performances, the cast is especially strong vocally, as is usual for New Line. As for comic timing, some are better than others, and there are moments when the jokes don’t land as they should, but for the most part, it’s a very funny show. Coffel as Pseudolus is ideally cast, with a strong voice and great stage presence and comic ability. Moore as Hysterium also has some memorable comic moments, as do Danny Brown as the self-admiring Miles Gloriosus, and Ann Hier Brown as the domineering but lovesick Domina. McCreary and Wilkinson are well-matched as the wide-eyed lovers, Hero and Philia. There’s also a trio of “Proteans” for an ensemble (Nathan Hakenwerth, Brittany Kohl Hester, and Aarin Kamphoefner) who all play various roles and seem to be having a great time. 

The look of the production is lively and vibrant, with a brightly painted, cartoonish set by Dr. Rob Lippert, and well-styled, colorful costumes by Eileen Engel that help to set the whimsical Roman tone of the show. There’s also good work on lighting by Matt Stuckel and music direction from Joe Simpson, with a strong onstage band conducted by keyboardist Matt Kauzlarich. 

A Funny Thing Happened on the Way to the Forum is an unapologetic comedy that revels in its silliness. Although it’s based on plays from ancient Rome, the overall tone has a 1960s comedy vibe. New Line’s production is a lot of fun, with its small scale again working in its favor. It’s an enjoyable production especially for fans of Stephen Sondheim, goofy comedy, and great singing. 

Sarah Wilkinson, Ian McCreary
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting A Funny Thing Happened on the Way to the Forum at the Marcelle Theatre until June 24, 2023

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A Vibrant, Melodic “Twelfth Night” from St. Louis Shakespeare Festival

Posted in St Louis Theatre, tagged , , , , , on June 7, 2023| Leave a Comment »

Twelfth Night
by William Shakespeare
Directed by Lisa Portes
St. Louis Shakespeare Festival
June 2, 2023

Clave Sol (band) led by Philip Gomez, Esteban Andres Cruz, Cassidy Flynn, Alisha Espinoza, Ricki Franklin
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

I’ve said it before, and I’ll say it again–I love how versatile Shakespeare’s plays are in terms of staging. Their being in the public domain gives directors much freedom in terms of how to present the plays, and while I’ve seen many great stagings that are more on the “traditional” side, I love modern dress presentations and re-imaginings, because I think that these versions can do a lot to help modern audiences relate to Shakespeare’s stories and characters, as well as bringing the meaning of his dialogue to life in a fresh, contemporary way. St. Louis Shakespeare Festivals latest production of the comedy Twelfth Night in Forest Park is an excellent example of how this more modern approach can work so remarkably well. 

The whole vibe of this piece is fantastic. The traditional setting has given way to a modern Miami-inspired look and feel, with lots of excellent Latin music arranged by music director and sound designer David R. Molina and played by the terrific onstage band, Clave Sol, led by Phil Gomez. Also featured are the excellent vocals of Esteban Andres Cruz, who plays Feste, the “fool” who is more of a minstrel, really. The story is the familiar one, of a shipwreck that separates twins Viola (Gabriela Saker) and Sebastian (Avi Roque) and the mixed-up romances involving Duke Orsino (Felipe Carrasco) and Olivia (Jasmine Cheri Rush); along with more hijinks in the form of the plotting by Olivia’s hard-partying cousin Toby, called Dame Toby here (Ricki Franklin), along another would-be suitor of Olivia’s, Sir Andrew Aguecheek (Cassidy Flynn), and Olivia’s assistant Maria (Alisha Espinosa), who play a trick on Olivia’s stuffy security man Malvolio (Ryan Garbayo). The comedy is fast-paced and fun, and the setting, based in the largely Cuban-American culture of Miami, works especially well here.

The look, style, and tone of the production is excellent, from Regina García’s stylish set to the vibrant, eye-catching costumes by Danielle Nieves, to John Wylie’s striking lighting design. The pacing is quick and energetic, and the excellent music provides an ideal mood to the proceedings. 

The performances are top-notch, led by the engaging Saker as an appropriately bewildered but strong-willed Viola. Her scenes with the equally strong Rush as the haughty Olivia and Carrasco as the determined Orsino are highlights. There are also delightful comic performances from Franklin and Flynn as the scheming pair of partying pals, Dame Toby and Andrew Aguecheek, along with memorable support from Espinosa as Maria, and a marvelous turn by Garbayo as the hilariously duped Malvolio. There’s a strong cast all around, providing a strong sense of ensemble chemistry that adds to the overall comic mood and contemporary air of the production. 

This Twelfth Night is vibrant, energetic, at turns bawdy and slapstick-ish, and just a pure delight from start to finish. It’s an excellent example of how Shakespeare can be adapted to different settings and cultures, all the while still highlighting the themes and characters of the story. And it’s free. This “Shakespeare in the Park” entry from STLSF is a great way to start off the summer theatrical season. 

Jasmin Cheri Rush, Gabriela Saker
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The St. Louis Shakespeare Festival is presenting Twelfth Night in Forest Park’s Shakespeare Glen until June 25, 2023

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New Jewish Theatre’s “Gloria” is a Well-Cast Portrait of a Woman and a Movement

Posted in St Louis Theatre, tagged , , , , , , on June 7, 2023| Leave a Comment »

Gloria: a Life
by Emily Mann
Directed by Sharon Hunter
New Jewish Theatre
June 1, 2023

Jenni Ryan
Photo by Jon Gitchoff
New Jewish Theatre

For a while in recent history, and especially in America, it often seemed to me that the first person that most people would think of when they heard the word “feminist” was Gloria Steinem. Steinem has been a highly visible figure over the years, beginning in the 1960s and continuing to today, although she’s not quite as ubiquitous as she once seemed. Becky Mann’s play Gloria: a Life, currently being staged by the New Jewish Theatre, looks at this prominent figure in the history of the feminist movement, as well as some of her contemporaries and how the world has changed over the years as a result of their efforts. It features a strong cast, led by an impressive leading performer who took on the role at essentially the last minute.

This is a relatively short play, told in the first person from the perspective of Steinem, who is played by Jenni Ryan and supported by a cast of performers who all play various roles as the story unfolds (Summer Baer, Kayla Ailee Bush, Sarah Gene Dowling, Carmen Cecilia Retzer, Chrissie Watkins, and Lizi Watt).  It’s essentially a quick but very personal look at Steinem’s life and her role in the feminist movement, often referred to as “Women’s Lib” back in the day, as well as a brief overview of the movement itself, especially in the 1960s and 70s, also serving as a striking contrast to how societal expectations and laws regarding women have changed over the years–from the 1950s idealization of the “perfect” wife and mother to the revelation of the real struggles that women went through to be taken seriously in work and life. The story showcases Steinem’s formation as a journalist and as a world-famous leader, while also highlighting the work of other important figures in the feminist movement, including congresswoman Bella Abzug (Dowling), Cherokee leader Wilma Mankiller (Watt), and Black feminist leaders Dorothy Pitman Hughes (Bush) and Flo Kennedy (Watkins). 

The story is as thorough as it can be in its short running time, which is essentially one act with a short “talking circle” added on as “Act Two”, in which various local leaders–with a different “guest responder” each performance–join the cast onstage to talk about their experiences, react to the play, and respond to questions from the audience. At the performance I saw, the guest responder was state representative Tracy McCreery. 

The staging is energetic and fast-moving, as the story unfolds and Steinem tells her story of her life and work. Ryan gives a thoroughly engaging performance as Steinem, which is all the more impressive considering she was a last-minute replacement in the role, and had script in hand on opening night, even though the presence of the script didn’t take anything away from Ryan’s compelling portrayal. There is also excellent support from the strong cast, who all play a variety of roles. All of the players are excellent and perform their roles with energy, although if I have to choose a standout, I think Dowling is especially excellent in her two most prominent roles, as Steinem’s mother, Ruth, and as the outspoken Abzug. 

The show also makes a strong impression in a technical sense. The play is performed in the round, with a simple but effective set by Fallon Podrazik that works well for the tone and pace of the story. Michele Friedman Siler’s costumes are terrific, featuring the distinctive looks of various eras and characters portrayed, with the vibrant 1970s outfits a highlight. There’s also excellent work from lighting designer Denisse Chavez and sound designer Amanda Werre, and the use of era-specific music works well to help move the story along.

No matter how much you know, or don’t know, about Gloria Steinem, and whatever you may think about her and her work, there’s no doubt that she has been a prominent figure in history for the past 60 years or so. This is a look at her life, her causes, and her contemporaries that’s intriguing and fascinating even if it is brief.  It’s compelling theatre from a company known for excellence in its productions. 

Cast of Gloria: a Life
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Gloria: a Life at the J’s Wool Studio Theatre until June 18, 2023

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