Archive for July, 2024

Fascinating “Red” is a Dynamic Work of Art at New Jewish Theatre

Posted in St Louis Theatre, tagged , , , , , , on July 31, 2024| Leave a Comment »

Red
by John Logan
Directed by Alan Knoll
New Jewish Theatre
July 25, 2024

Dustin Lane Petrillo, Christopher Harris
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a fascinating lesson in art, history, and life. John Logan’s Red looks at abstract artist Mark Rothko in a way that illuminates not only his work, but his reasons behind it, his life philosophies, and the changing trends in art in the middle of the 20th Century. It’s a dynamic, literate, thoughtful piece that serves as an excellent showcase for two talented actors and gives the audience a lot to think about and learn.

The story takes place in Rothko’s New York studio in the years 1958 and 1959, as the artist (Christopher Harris) works on a now well-known series of paintings known as the Seagram murals, which were originally commissioned to hang on the walls in the Four Seasons Restaurant. It’s a fictionalized account, featuring a young assistant named Ken (Dustin Lane Petrillo) who starts his job at the beginning of the play and serves as a sounding board and occasional foil for Rothko as he undertakes this ambitious job that doesn’t seem to make a lot of sense, as a swanky Manhattan eatery doesn’t seem like an ideal place for the silence and contemplation that Rothko envisions as appropriate for his work. Through the course of the 90 minute play, we get to see Rothko at work, as well as seeing and hearing his thoughts about art and life, as well as his impassioned commitment to his work and ideals. Through the voice of the younger aspiring artist Ken, Rothko is also challenged about his philosophy toward art and his response to newer trends in the art world such as Pop Art represented by Andy Warhol, Roy Lichtenstein, and others. Ideas such as the commercialization of art, the reflection of the artists’ life and suffering on their work, and more are brought up in while the audience gets to see–to the degree that one play is able–the sheer amount of energy and effort that goes into painting such an ambitious series of works.

It’s somewhat difficult to describe this play without making it seem overly cerebral and talky, but it does not come across that way on stage. What we see onstage is the personality of an artist and his relationship with his art, as well as a tangible sense of dynamic energy that goes into every moment. The pacing by director Alan Knoll and the intensely dedicated performances of the two actors make this show a must-see in itself, with Harris bringing a confrontational, passionate interpretation of Rothko and Petrillo also convincing as the idealistic young assistant. These two work especially well together, with their contrasting characters and complementary energy. Watching them dive into the job, sparring with words and priming canvases with gusto, is alternately fascinating, challenging, and thrilling. There’s also an excellent use of music that works as a background and mood-setter for their work. 

The set by Margery and Peter Spack is vividly detailed, recreating the atmosphere of the artist’s studio in a gritty, meticulous way. There’s also top-notch lighting by Jayson M. Lawshee that plays into the story well, and excellent sound design by Justin Smith. Michele Friedman Siler’s costumes are also memorable, suiting the characters well and reflecting the styles of the late 1950s with credible authenticity. 

Red is a remarkable piece of theatre. It’s a work of art about works of art, and the artist behind them, and sheds light on the work and thought that goes into abstract art, even if it may look “simple” on the surface. Rothko is a complex, important figure in the art world, and this play works as a look at the artist himself as well as the changing ideals in the art world and the contrast between idealism and commercialism. It’s a fascinating show, and this production at NJT is a first-rate, dynamic experience. 

Christopher Harris, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Red at the J’s Wool Studio Theatre until August 11, 2024

Read Full Post »

The Muny’s Impressive “Fiddler” Reminds Us Why It’s a Classic

Posted in St Louis Theatre, tagged , , , , , , , , , on July 21, 2024| Leave a Comment »

Fiddler on the Roof
Book by Joseph Stein, Music by Jerry Bock, Lyrics by Sheldon Harnick
Directed by Rob Ruggiero
Original Choreography by Jerome Robbins Adapted for the Muny Stage by Parker Esse
The Muny
July 20, 2024

Adam Heller and Cast
Photo by Phillip Hamer
The Muny

Fiddler on the Roof is about to be 60 years old, and it still resonates with audiences around the world. It’s been performed at the Muny ten times before, and now that it’s on stage again, it’s as fresh, vibrant, and poignant as ever. Under the direction of Rob Ruggiero and featuring an excellent cast led by Muny veteran Adam Heller as Tevye and featuring a superlative Muny Orchestra led by music director Darryl Archibald, this show is as timeless, timely, and tuneful as ever.

This show is so well known that many viewers will already know the story. In a small village in early 20th Century Russia, Tevye the Milkman (Heller) and his wife, Golde (Jill Abramovitz) live in a close-knit Jewish community that holds its traditions dear, although times are changing and their lives will soon be thrown off-balance, within families, in the village at large, and in the outside world. Tevye’s five daughters successively challenge long-held traditions and beliefs–especially the three eldest, Tzeitel (Samantha Massell), Hodel (Hannah Corneau), and Chava (Emerson Glick). Meanwhile, the news of disruptions and discord throughout the land continues to creep into the little village of Anatevka, getting closer and closer to radically changing the lives of everyone who lives there. As the story plays out, the familiar songs such as “Tradition”, “Matchmaker”, “If I Were a Rich Man”, “Sunrise, Sunset” and more are featured, highlighting the themes of connection, conflict, tradition and change.

This is a show that works so well, it’s not easy to mess it up, but it’s also so familiar that it’s fairly easy to just coast through and do a “good enough” version. At the Muny, this Fiddler is a lot more than just “good enough”. Led by Heller’s enthusiastic, charming performance as Tevye, this cast makes the stage come alive with strong voices and excellent stage presence and chemistry. Heller and the equally strong Abramovitz work especially well together, and all of the daughters are also memorable, well-matched by their suitors, Max Chernin as Motel, Clay Singer as Perchik,  and Andew Alstat as Fyedka. There are also standout performances by Cheryl Stern in a fine comic turn as Yente the matchmaker; Jeremy Radin as Lazar Wolf the butcher; and Susan J. Jacks and Blair Goldberg who make the most of their roles as Grandma Tzeitel and Fruma-Sarah in the “Tevye’s Dream” sequence.  There’s a strong ensemble across the board, and the production numbers are especially impressive, with strong choreography recreated by Parker Esse based on Jerome Robbins’s original work. There’s also that excellent orchestra adding much in the way of atmosphere and sweeping emotion.

The look of this production is also impressive, with an inventive set by Tijana Bjelajac augmented by excellent video design by Kevan Loney, giving the show a timeless look that fits with the mood of the show, but somewhat veers away from the more traditional sets that many productions of this show seem to use. There’s also striking lighting by John Lasiter and meticulously detailed costumes by Alejo Vietti, along with wigs by Tommy Kurzman. 

Overall, this is a Fiddler that tells its story well, with the well-known themes and iconic score given a notable production on the vast stage in Forest Park. It’s a timeless tale, with a great cast and a marvelous score. At the Muny, it’s a classic show that still resonates as much as I imagine it ever could. 

Hannah Corneau, Samantha Massell, Emerson Glick
Photo by Phillip Hamer
The Muny

The Muny is presenting Fiddler on the Roof in Forest Park until July 25, 2024

Read Full Post »

Tesseract’s Rough But Intriguing New Musical Could Use a Little More “Fire”

Posted in St Louis Theatre, tagged , , , , , on July 21, 2024| Leave a Comment »

Cascade’s Fire
Music by Kyle Wernke, Book & Lyrics by Taylor Gruenloh
Directed by Taylor Gruenloh
Tesseract Theatre Company
July 19, 2024

Josie Schnelten
Image: Tesseract Theatre

The second entry in the Tesseract Theatre Company’s New Musical Summer Fest 2024 is much more obviously a work-in-progress. Cascade’s Fire is subtitled “A Modern Antigone” story, and it has an intriguing concept, but the structure and presentation could use a lot of work. With a nod to its Greek tragedy origins, this show gets a bit too mired in “concept” to be a completely coherent story, although the cast is giving their all and there are some interesting ideas here.

The story is told in a sort of artificially detached manner by a two-person “Greek Chorus” (Brittney Roberson, Chris Melton) that come across more as lecturers/narrators than commentators on the action. In fact, there isn’t a lot of action–the audience is told what happens more than they are shown, especially at the beginning, in which the inciting incident that makes focused young university student Cascade (Josie Schnelten) leave school and disappear for three years is told in a somewhat clinical way by the chorus. Then, Cascade is occasionally talked about, but the story shifts to Trinity (Kampbell Hemeyer), Cascade’s former girlfriend, who is distraught and takes a drastic action, which eventually brings Cascade back to campus. Meanwhile, we also meet Robbie (Jordan Ray Duncan), who was romantically involved with both Cascade and Trinity; Luke (Luke Geockner), the ruthless mastermind of a horrible, exploitative “business”; and Olivia (Ella Penico), Luke’s dominated, exploited girlfriend. There’s also Dylan (David Pisoni), Olivia’s friend who is trying to find out the truth about the disappearance of several girls on campus, as well as what drove Trinity to her final action. 

If this plot all sounds a bit cluttered, that’s because it is. Even though the show is called Cascade’s Fire, Cascade herself doesn’t figure a lot into the story except at the beginning and the end. This isn’t necessarily a problem, since this show is inspired by the Greek tragedy Antigone, which turns out to be a lot more about Antigone’s uncle, King Creon, than Antigone herself, and in which Antigone is resolute about what she’s going to do from the beginning, and never relents. Cascade in this story echoes Antigone in that way, but there’s a lack of focus in the various subplots to the point where we almost have to be reminded that Cascade still exists, until the end, in which the passions ramp up and the story finally starts coming across more as a play than an lecture or academic exercise. The rest of the characters are not given enough development to invest in too much, with the most dominant players being the chorus, who keep showing up to remind us that this play is a tragedy, as if the show itself isn’t able to communicate that fact.

As for the cast, everyone is trying their best, led by Schelten’s fiercely determined Cascade. The singing is hit-or-miss, and the songs aren’t especially memorable. Also, despite the fact that several of the characters are romantically involved with one another at various moments in the story, there is no real chemistry between the performers in this way. 

Production-wise, the set by Taylor Gruenloh and David Pisoni is simple and effective, and Matt Stuckel’s lighting is somewhat static and stark. The sound isn’t especially consistent, and especially during the songs, it can be difficult to understand the words. There’s a somewhat rough, unpolished look and feel about the staging, somewhat like a school drama project in its early stages.

There are some good ideas here, and important issues being brought up, although everything is still quite rough and coldly academic. Still, the performers are invested and this is obviously a work in progress. Cascade’s Fire could use a little more fire, but there is potential here. 

The Tesseract Theatre company is presenting Cascade’s Fire as part of the New Musical Summer Fest 2024 at the Marcelle Theatre until July 28, 2024

Read Full Post »

STLAS Highlights Communication, Connection in Latest LaBute Festival

Posted in St Louis Theatre, tagged , , , , , , , , , , , on July 18, 2024| Leave a Comment »

10th Annual LaBute New Theater Festival
St. Louis Actors’ Studio
July 13, 2024

It’s that time again for St. Louis Actors’ Studio. For this local company, summer means the LaBute New Theater Festival, now in its tenth installment. This latest edition highlights themes of personal connection and communication, with an especially strong set of plays featuring memorable performances and strong technical elements.

There are two directors represented in this year’s festival–Kristi Gunther and Spencer Sickmann, who both turn out impressive work in the variety of short plays featured. Patrick Huber’s “blank canvas” set is back, and it’s as versatile as ever, augmented by Emma Glose’s strong props design and Abby Pastorello’s detailed costumes, wigs, hair and makeup design. There’s also excellent work from Huber on lighting design and sound from STLAS. It’s a good slate of plays this year, and another successful example of the more streamlined format that began with last year’s festival, featuring one set of five plays throughout the festival’s run. 

Here are some brief thoughts about this year’s featured plays:

“Grief & Woe”
by Paul Bowman
Directed by Spencer Sickmann

Lorelei Frank, Greg Hunsaker, Tyler Crandall
Photo by Patrick Huber
St. Louis Actors’ Studio

This is a somewhat whimsical take on the story of Adam (Tyler Crandall) and Eve (Lorelei Frank), who have a rocky start to their relationship to the consternation of their creator “Mr. G” (Greg Hunsaker), who keeps reminding them that they were made for each other. Enter Lou (Chuck Winning), the wily tempter who tries to derail the relationship even further, but Mr. G has his own ideas about how to handle their problems. 

This is a well-acted show with memorable portrayals from all, with Frank and Crandall portraying a believable love-hate relationship, and standout turns from Hunsaker as the exasperated but determined Mr. G and Winning making the most of every moment as the slippery Lou. It’s a quirky re-imagining of a familiar tale, and a memorable start to the festival. 

“Cage”
by Barbara Blatner
Directed by Kristi Gunther

Lorelei Frank, Jane Paradise
Photo by Patrick Huber
St. Louis Actors’ Studio

This story focuses on a fractured mother-daughter relationship, as the surly teenager George (Lorelei Frank) clashes with her critical mother, Bobby (Jane Paradise). While George takes refuge from the conflict in her love of animals, she upsets her mother by bringing in a wild snake as a pet. Meanwhile, Bobby has her own personal issues to deal with that are brought up by George. 

This play, more than the others here, seems like a scene from a larger work. The strong performances drive the plot well, but I find myself wanting to know more, and wishing this story had more time. This could easily be expanded into a full-length play, with its intriguing concept and believable relationship that could use more backstory.

“Walrus”
by Brandt Adams
Directed by Kristi Gunther

Greg Hunsaker, Anthony Wininger, Tyler Crandall
Photo by Patrick Huber
St. Louis Actors’ Studio

If this festival were giving out awards, this one would win for its hilarious concept. It’s essentially a run-of-the mill bar fight/conflict story, but the characters are all animals. It almost seems like the start of a joke–“a walrus and a manatee walk into a bar…” Here, the outspoken Walrus (Anthony Wininger) is telling loudmouthed stories to the more passive Manatee (Tyler Crandall), rousing the ire of bartender Mike (Greg Hunsaker), who happens to be a polar bear. 

This is easily the funniest play this year, with well-drawn characters and a thoroughly credible setup, with characters that are believably human, even though they’re animals. There’s even a subtle message about climate change thrown in for good measure, but what really makes this show work are the characters, and the performances. Everyone works well here, from Wininger’s blustery Walrus, to Crandall’s conciliatory Manatee, to Hunsaker’s volatile Polar Bear. It’s a dynamic, highly entertaining, well-portrayed story.

“Who’s On First”
by Neil LaBute
Directed by Kristi Gunther

Chuck Winning, Anthony Wininger
Photo by Patrick Huber
St. Louis Actors’ Studio

This year’s entry by the festival’s namesake, Neil LaBute, is a more serious twist that alludes to a famous comedy routine by means of its title and the character names. Abbott (Chuck Winning) is a Little League baseball coach having a clandestine and somewhat emotionally charged meeting with Costello (Anthony Wininger), the father of one of the team’s young players. From the start, it’s obvious that the coach isn’t comfortable with the idea that Costello is proposing, although it takes a while to become obvious what exactly the “deal” is. This is an intriguing, thought-provoking idea, raising concepts such as the purpose and goals of youth sports and its impact on the kids, as well as how seriously adults can take them. The performances are convincing, and this comes across as a believable moment that works more as a short play than some of the LaBute works in previous festivals, many of which seems more like extended monologues or acting exercises. 

“Love in the Time of Nothing”
by Jayne Hannah
Directed by Spencer Sickmann

Greg Hunsaker, Jane Paradise
Photo by Patrick Huber
St. Louis Actors’ Studio

Here, in the last and most poignant festival entry, Jane Paradise and Greg Hunsaker are Juleanna and David, a married couple who tell their love story and the difficulties they endure as David faces a heartbreaking diagnosis. This is an especially well done story, with memorable, sensitive portrayals by both performers and an engaging structure that brings the audience along for the ride as the story rolls along. There’s a strong sense of character and chemistry here, and although the overall concept is not new, it plays out in a convincing, heart-wrenching manner.

St. Louis Actors’ Studio is presenting The 10th Annual LaBute New Theater Festival at he Gaslight Theater until July 28, 2024

 

 

Read Full Post »

Tuneful “My Heart Says Go” is a Promising New Musical from Tesseract

Posted in St Louis Theatre, tagged , , , , , , , on July 18, 2024| Leave a Comment »

My Heart Says Go
Music and Lyrics by Jorge Rivera-Herrans
Additional Arrangements by Geoffrey Ko
Book by Matthew Hawkins
Directed by Brittanie Gunn
Choreographed by Maggie Nold
Tesseract Theatre Company
July 13, 2024

Kevin Corpuz and Cast
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theater Company is launching their New Musical Summer Fest this year, with two musicals opening on successive weekends. The first entry is the earnestly engaging My Heart Says Go, which features a theme that can be seen as overused, although the characters are memorable, the score is catchy, and the cast is excellent. It’s got a lot in the way of entertainment value, although there are a few plot issues that need some work.

From the show’s title, you’ll essentially know the theme. This is one of those “follow your heart/find your dream” stories that are so plentiful these days. Because this general idea is so popular, a lot of these stories can seem to blur together after a while, so it’s something of a challenge to make them stand out from the others. This show has a tuneful score, memorable characters, and a quirky, knowing sense of humor that lends much interest to it’s story. The plot follows Indigo (Kevin Corpuz)– a young math/science whiz who quits medical school to pursue the dream of becoming a musician. He’s even developed an algorithm to write the “perfect pop song”, so he packs up his guitar and takes the train to Los Angeles, leaving behind his skeptical, hardworking dad (Kelvin Urday), who has had high hopes for Indigo’s success in the medical field. On the way, Indigo meets would-be fashion designer Clara (Sarah Wilkinson), who is also headed to LA and has an even more complicated relationship with her mother (Loren Goudreau). A sympathetic train conductor (Victoria Pines) encourages Indigo and Clara to make the most of their lives.

Upon arriving in LA, Indigo and Clara end up sharing an apartment, managed by geeky wannabe social media influencer Timmy (Clayton Humburg), who gives them a deal against the wishes of his mom, who owns the building. As Clara barters for groceries and Indigo looks for a job to make ends meet, they also meet Rob (Kevin Hester), a struggling musician who apparently used to be more successful, and who has connections at a recording studio. Soon, as Indigo’s dad tries to convince him to give med school another try, Indigo finds out about a TV talent competition and enters. Will this be the big break Indigo has been looking for? Or is there more drama ahead?

There are some plot issues with this show, in that it tends to be predictable, and some subplots–such as those involving Rob, as well as Clara’s mom–aren’t given enough time or suitable conclusion. And Clara’s story isn’t as fleshed-out as it could be, either. Still, even with its drawbacks, this is an engaging show, with humor and a promising score, and especially memorable characters played well by the well-chosen cast. Corpuz is highly likable as the talented but conflicted Indigo, with a great voice and convincing stage presence. Wilkinson is also strong as the quirky Clara, and Humburg steals every scene he’s in as the charmingly nerdy Timmy. There are also standout turns from Urday as Indigo’s loving but concerned father and Pines, in great voice as the wise train conductor. There’s also a fine ensemble in support, including Grace Langford, Laura Schultz, Milo Garlich, David Gregory, and Khristian Duncan. 

Visually, the show has a simple but eye-catching look, with Brittanie Gunn’s versatile set highlighted by a neon backdrop aiding the storytelling especially well. There are also well-suited costumes by Abby Pastorello, striking atmospheric lighting by Matt Stuckel,  strong music direction by Larry Pry, and energetic choreography by Maggie Nold, working together with the staging to create a sense of motion and moving forward that lends urgency and vibrancy as the plot unfolds.

Overall, although it could use some revision, this is an engaging, entertaining new musical. As staged by Tesseract, My Heart Says Go features an enthusiastic cast, strong vocals, and a cohesive visual style. It’s a highly promising new work. 

Kevin Corpuz, Clayton Humburg, Sarah Wilkinson
Photo by Florence Flick
Tesseract Theatre Company

 

Tesseract Theatre Company is presenting My Heart Says Go as part of the New Musical Summer Fest 2024 at the Marcelle Theatre until July 24, 2024

Read Full Post »

Midnight’s Enigmatic “Old Times” Features Strong Cast and Direction

Posted in St Louis Theatre, tagged , , , , , on July 15, 2024| Leave a Comment »

Old Times
by Harold Pinter
Directed by Sarah Lynne Holt
The Midnight Company
July 11, 2024

Kelly Howe, Joe Hanrahan, Colleen Backer
Photo by Joey Rumpell
The Midnight Company

Theatre comes in all types and styles, from light and entertaining to more intellectually challenging; from straightforward in story to more obscure. Harold Pinter’s Old Times is not one of those more obscure, challenging shows. It’s one of those plays you can write academic essays about, or debate interpretations of while still not being entirely sure what’s going on. It also doesn’t have much in the way of action, consisting mainly of conversation and reflection. This complex, fascinating, unsettling show is the latest production from The Midnight Company, currently being staged at The Chapel with deliberately paced, thoughtful direction, and a cast that is giving their all. 

Old Times is characterized as one of Pinter’s “memory plays”, and the concept of memory looms large, since much of the “action” is driven by recollection and reflection of things that supposedly happened twenty years before. As the play begins, married couple Kate (Colleen Backer) and Deeley (Joe Hanrahan) are recalling Kate’s old friend Anna (Kelly Howe), who is due to visit soon after an absence of many years, since Anna has apparently been living abroad. Much is said concerning the contrasting personalities of the two women–the more reserved, isolated Kate and the more outgoing, fun-loving Anna. Deeley claims to never have met Anna, but that claim is called into question later after Anna arrives. There’s a lot of talking and “remembering”–discussing various events such as Anna’s and Kate’s exploits attending various events in London, and Deeley’s first meeting and developing relationship with Kate. There are several recurring themes, and various events and situations are brought up repeatedly, and the tension among the three becomes more palpable and disturbing, leading to a somewhat ambiguous ending that can be interpreted a few different ways.

That’s about all I can say about the plot without spoiling, but I will say that this is an especially talky play, and it requires full attention to follow the recurring themes and try to figure out what exactly is going on. The characters are an enigma, and they aren’t easily likable. The story seems more to be an exploration of the various personalities and power balances in the relationships. It’s Pinter at his most obscure, and it could easily come across as detached and boring if not paced or performed well. Kudos for this production go to director Sarah Lynne Holt and the cast for deliberately measured, well thought-out staging and performances, with as much being communicated in the silences between words as in the lines themselves.

The three performers work together well, with a palpable awkwardness and tension that grows throughout the production, and well-defined portrayals of the characters.  Kate is perhaps the most enigmatic character, and Backer’s performance highlights a calculated aloofness and underlying reflectiveness. Howe, as the more talkative, outgoing Anna, imbues her characterization with a sense of insistent ingratiation, and Hanrahan’s Deeley has an air of self-aggrandizement and objectification. The three play off of one another with convincing chemistry, lending energy to the proceedings even when its degree of verbosity threatens to veer into the overly obtuse. 

The look and atmosphere of this production is augmented by a strong sense of aesthetic, with Chuck Winning’s simple but effective set and Kayla Dressman’s well-suited costume design help set the scene and mood well. There’s also excellent lighting from Tony Anselmo and a memorable use of music in between scenes. 

Overall, this might not be a show for all audiences, considering its enigmatic, talky nature, but as staged by The Midnight Company, Old Times provides much food for thought, with a well-measured tension and strong performances. It’s Pinter, so it’s going to be odd, but it’s odd in an intriguing way. It’s a short play, even with an intermission, but there’s a lot to be said here, and in the hands of a talented director and cast, it’s worth a look, a listen, and a whole lot of thought. 

Kelly Howe, Colleen Backer, Joe Hanrahan
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting Old Times at The Chapel until July 27, 2024

Read Full Post »

The Muny’s Energetic “Mermaid” Brings Out the Fun Under the Sea

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 13, 2024| Leave a Comment »

The Little Mermaid
Music by Alan Menken, Lyrics by Howard Ashman & Glenn Slater, Book by Doug Wright
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 10, 2024

Savy Jackson, Fergie L. Phillippe, and Cast
Photo by Phillip Hamer
The Muny

The Muny is taking its audience “Under the Sea” again, for its third staging of Disney’s The Little Mermaid. As this year’s “family show”, this production takes theatregoers on a colorful musical adventure in a vibrant staging directed by Muny veteran John Tartaglia. On the big Muny stage, the sea is brought to life by a strong cast and dazzling production values, including especially inventive usage of flying effects and puppetry.

The story is well-known to anyone who is familiar with the original animated film, its more recent live-action adaptation, or the stage show. The title character is Ariel (Savy Jackson), a mermaid and the daughter of Triton (Ben Davis), the King of the Sea. Noted for her remarkable voice, Ariel would rather be spending time on the ocean’s surface than attending concert rehearsals with court composer Sebastian the crab (Fergie L. Phillippe). There, she and her fish friend Flounder (Leia Rhiannon Yogi) meet with the enterprising seagull Scuttle (Jen Cody), who offers inventive descriptions of the discarded human artifacts Ariel finds to add to her collection. Soon, she meets Prince Eric (Michael Maliakel), who would rather be spending time at sea than becoming king. Of course, Ariel falls in love with him, saves his life after a shipwreck, and ends up making a deal with the devious Sea Witch Ursula (Nicole Parker)–trading for voice for legs with the stipulation that she must get Eric to kiss her within three days, or else she is doomed to forfeit her soul. Thankfully, Sebastian, Flounder, and Scuttle are there to help, but Ursula’s henchmen, the electric eels Flotsam and Jetsam (Kennedy Kanagawa, Adam Fane) hang around in an effort to thwart their plans. Some new songs by Alan Menken and Glenn Slater have been added to the show along with film favorites by Menken and Howard Ashman,  including the popular “Under the Sea”, “Part of Your World” and “Kiss the Girl”.  The book by Doug Wright has added some backstory for Triton and Ursula, as well as Prince Eric and his guardian Grimsby (Rich Pisarkiewicz). The scenes between Ariel and Eric are extended, as well, and the ending plays out a bit differently than in the original film. Overall, it’s the story audiences will recognize, brought to life on the large Muny stage with vibrancy and a good deal of energy, with thoughtful staging by director Tartaglia and enthusiastic choreography by Patrick O’Neill, backed by a terrific Muny Orchestra led by music director Michael Horsley.

This isn’t just the Muny’s third production of this show–it’s also the third one I’ve seen, having attended both previous Muny versions. For many in the audience, though–especially the many children attending–this is a new experience, so too much comparing isn’t all that useful. For me, though, it’s interesting to notice the similarities–especially to the last staging in 2017, where some of the costumes, and especially the look and operation of Ursula’s costume, is essentially identical, with Parker’s Sea Witch surrounded by tentacles each played by a different ensemble member. The use of puppetry and flying, however, is used even more in this production than either of the previous two, with kudos to Puppet Kitchen International, Inc. for the puppets and ZFX for the flying (well, swimming, really). This is a great looking production, with a vivid sense of color and variety in the various sea creatures and land dwellers. The costumes by Robin L. McGee are colorful and whimsical, and Ann Beyersdorfer’s detailed set is eye-catching, augmented by Katherine Freer’s fun video design and atmospheric lighting by Jason Lyons. 

As for the cast, it’s especially strong, led by the delightful Jackson as Ariel, with all the likable personality and excellent vocals required for the role. Maliakel as Eric is also memorable, displaying a great voice as well, and fantastic chemistry with Jackson, making their scenes together a highlight of the production. There are also memorable turns from Davis as the loving but occasionally overbearing Triton and Parker as the gleefully villainous Ursula, backed by marvelously sneaky performances form Kanagawa and Fane as the devious Flotsam and Jetsam. Phillippe makes a great Sebastian, as well, with excellent support from the clear-voiced Yogi as Flounder and the delightfully comic Cody as the tap-dancing Scuttle. There’s a strong ensemble in support, with a good deal of enthusiasm on big numbers like “Under the Sea” and “Kiss the Girl”. 

Overall, this is The Little Mermaid that audiences will expect, with a good deal of energy, heart, and memorable visuals. If I have to sum it up in one word, it would be “fun”. It’s a musical treat for all ages from the Muny.

Michael Maliakel, Savy Jackson, and Cast
Photo by by Phillip Hamer
The Muny

The Muny is presenting Disney’s The Little Mermaid in Forest Park until July 16, 2024

This review was originally published at kdhx.org

Read Full Post »

ERA Has a Lot Going on In Thoughtfully Staged, Characterful “Yard Sale”

Posted in St Louis Theatre, tagged , , , , , , on July 11, 2024| Leave a Comment »

Romanov Family Yard Sale
by Courtney Bailey
Directed by Lucy Cashion
Equally Represented Arts
July 5, 2024

Cast of Romanov Family Yard Sale
Photo by Jason Hackett
Equally Represented Arts

Upon arriving at the Kranzberg Arts Center for Equally Represented Arts’ production of Romanov Family Yard Sale, theatregoers are greeted with handmade signs on the door advertising the “Yard Sale Theatre Play” with the persistent slogan “Everything Must Go”. That phrase is essentially the motto of this new show by playwright Courtney Bailey, directed by ERA’s Lucy Cashion, and featuring an energetic cast of talented local performers who play their roles with gusto. Like everything from this company, this play is challenging, literate, and intensely thought-provoking. It’s engaging, fun, and occasionally poignant, and it’s marvelously inventive. 

You may recognize the name “Romanov”, and you’re supposed to, although the Romanovs here aren’t the famous ones, but distant relatives. These relatives are holding a yard sale and appearing in a “moviefilm” filmed by guests Kirk (John Wolbers) and Dody (Chrissie Watkins), whose speech is a barely intelligible blend of random English words and catchphrases–essentially indicating the language barrier between the Russian Romanovs and the filmmakers, whom they assume to be American. The experience of the show is somewhat immersive, in that audience members arrive and participate in a yard sale, as various items from clothing to books to toys to household gadgets and more are offered for sale in exchange for blue “yard sale tickets”. When the story gets going, the audience takes their seats and the Romanov family members tell their story, including their connection with their more well-known late royal cousins. The family is organizing the yard sale and participating in the film in the hope of moving to America to start new lives. What ensues is a story that involves clever pop-culture references–especially to the documentary Grey Gardens and the animated film Anastasia–and explorations of American capitalism, religious movements, and the Russian concept of Toska, an untranslatable term that essentially describes a deep sense of melancholy, longing, and despair, which is described as more pervasive than “measly American depression”. There are also Beanie Babies, a raccoon chorus, and lots more.

This isn’t an easy show to describe, because there’s a lot here to think about and ponder. It’s a clever examination of various concepts, for the most part, with the characters standing out and adding much in the way of heart and poignancy, in addition to humor. Like a lot of ERA’s plays, this play is best understood by experiencing it. There are a few moments where the story seems to drag, especially while the family is constructing an “origin story” for their invented religion–the Church of the Great Babooshka. At the performance I saw, though, this sequence was enlivened somewhat by the production’s smoke machine inadvertently setting off the fire alarm in the theatre, but the cast managed to work that into the show well after the audience returned from evacuation and the fire department cleared out. Cassidy Flynn as Rasputin gets a special nod in this regard, for handling the transition back to the show especially well. 

The cast is excellent, and all are fully committed to their characterizations of this quirky collection of Romanovs, including Big Yelena (Rachel Tibbetts), Little Yelena (Ellie Schwetye); three sisters all named Masha (Celeste Gardner, Kristen Strom, Maggie Conroy); the “rat princess” Anastasia (Ashwini Aurora)–who may or may not be dead; Cousin Katrina–who definitely is dead (played by Courtney Bailey and a fully dressed plastic skeleton); Katrina’s grieving husband Cousin Alexi (Adam Flores); the elderly Aunt Babooshka (Miranda Jagels Felix); and the egg-obsessed Uncle Boris (Anthony Kramer); along with the aforementioned racoon choir (Joe Taylor), as well as Rasputin and his crony Pigbat (Alicen Moser). It’s difficult to single anyone out, because all are strong and everyone has their moments to shine. It’s a true ensemble cast with excellent energy and chemistry, telling the quirky, offbeat story with style, humor, and occasional moments of surprising emotional resonance. 

The technical production is striking, as well, with cohesive look and atmosphere maintained by Cashion’s scenic design, Marcy Weigert’s vividly realized costumes, Denisse Chavez’s mood-enhancing lighting, and impressive sound design by Cashion and composer Taylor, who provides a memorable soundtrack as the story unfolds. Taylor also served as cinematographer for the accompanying film, which adds a layer of depth to the preceding stage play.

This is another clever, innovative production from ERA. It’s part play, part yard sale, part immersive experience, and thoroughly entertaining and thoughtful. If you’re interested in Russian history, American pop culture, Beanie Babies, raccoons, yard sales, or just good, challenging experimental theatre, this is a show that shouldn’t be missed. While it could use a bit of editing, for the most part it’s a profoundly inventive theatrical experience. 

Cast of Romanov Family Yard Sale
Photo by Jason Hackett
Equally Represented Arts

Equally Represented Arts is presenting Romanov Family Yard Sale at the Kranzberg Arts Center until July 20, 2024

Read Full Post »