Archive for August, 2024

The Muny Sets Sail for Fun with Lively “Anything Goes”

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

Anything Goes
Music and Lyrics by Cole Porter
Original Book by P.G. Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse
New Book by Timothy Crouse & John Weidman
Directed by Marcia Milgrom Dodge
Choreographed by Jared Grimes
The Muny
August 20, 2024

Cast of Anything Goes
Photo by Phillip Hamer
The Muny

The Muny’s 2024 season is cruising to a lively end with a vibrant production of the classic Cole Porter musical Anything Goes. First appearing on the Muny’s stage in 1940, this is a show that’s undergone several revisions over the years, all featuring the same general story, silly old-fashioned humor, and memorable score. This latest version emphasizes style, energetic choreography, and spot-on comic timing as a stellar cast makes this show about an ocean cruise sail smoothly and with tremendous, dazzling energy and production values that fill the massive stage with music and good old-fashioned fun.

The plot has a lot going on, and it’s full of old-style stage humor, slapstick, suggestive jokes, sight gags, and plot contrivances as a disparate collection of characters find themselves on an ocean liner sailing to England from New York. Nightclub performer Reno Sweeney (Jeanna de Waal) is front and center, along with her old friend, stockbroker Billy Crocker (Jay Armstrong Johnson), who has fallen in love suddenly with debutante Hope Harcourt (Kimberly Immanuel)–to the smitten Reno’s initial disappointment. When Billy finds out that Hope is sailing to England to marry Lord Evelyn Oakleigh (George Abud), Billy stows away on board in hopes of changing her mind while avoiding his boss, Elisha Whitney (Lara Teeter), who has given Billy an important business assignment back in New York. Also on board is gangster-in-disguise Moonface Martin (Kevin Chamberlin)–Public Enemy #13, along with Erma (Adrienne Hicks), who attracts the attentions of many of the sailors. As Reno and her “Angels” (Kristen Grace Brown, Candice Hatakeyama, Bethany Ann Tesarck, Danielle Jackman) are preparing to entertain in the ship’s lounge, and the ship’s Captain (Eric Jordan Young) obsessed with finding a celebrity on board, and with juvenile delinquents Spit (Spencer Jones) and Dippy (Joe Capstick) finding enterprising ways to make money, there’s a lot of reasons for joking, singing, and dancing, making for a lively, fast-moving and hilarious show. Also, the new script has been revised to remove some problematic elements, adding to the enjoyment of the show.

The cast is great, led by de Waal’s tour-de-force performance as the singing, dancing, wisecracking and lovelorn Reno, who goes through heartbreak and newfound love in the course of the show. She along with the hilarious Chamberlain as Moonface and the smooth-voiced, slick dancing Johnson as Billy, form the core trio in this show. Johnson also has great chemistry with the also excellent Immanuel as the conflicted Hope. There are also fun comic turns by Hicks as the amorous Erma, Teeter as the nearsighted, Yale-obsessed Whitney, Ann Harada as Hope’s mother Evangeline, and Abud as the eagerly curious Evelyn. There’s also a great ensemble filling out the smaller roles with style and energy, especially in the spectacular production numbers choreographed by Jared Grimes with lots of impressive tapping. 

The show looks spectacular, as well, with an expansive set by Edward E. Haynes, Jr. that makes the most of the Muny’s enormous stage, as well as delightfully whimsical video design by Kylee Loera. The costumes by Tristan Raines are appropriately detailed, colorful, and period appropriate, and there’s also excellent lighting by Rob Denton and sound by John Shivers and David Patridge. And then there’s the impressive Muny Orchestra churning out those delightful Cole Porter melodies, led by music director Ben Whiteley. 

Anything Goes has everything–music, humor, wit, and a brilliant cast delivering a new version of this classic show in a smooth, quickly paced production. It’s simply delightful, and a marvelous way to close out the season. This has been a great summer for the Muny, and it’s ending in memorable fashion. I can’t wait to find out what next year will bring.

Jeanna de Waal, Kevin Chamberlin, Jay Armstrong Johnson
Photo by Phillip Hamer
The Muny

The Muny is presenting Anything Goes in Forest Park until August 25, 2024

Read Full Post »

Energetic Cast Propels Prism’s Gender-bending “[title of show]”

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

[title of show]
Music and Lyrics by Jeff Bowen, Book by Hunter Bell
Directed by Sam Hayes
Choreographed by Cady Bailey
Prism Theatre Company
August 16, 2024

Katie Orr, Jaelyn Hawkins
Photo by Cady Bailey
Prism Theatre Company

Prism Theatre Company is staging their first musical, with a version of meta-musical [title of show] subtitled “the gender bend”, casting the show with women in all the roles. As originally developed, this musical has a gutsy, self-referential and quirky vibe that enlivens the proceedings and makes for a fun lesson in what makes a musical while at the same time serving as an ode to friendship and collaboration in the creation of art. At Prism, the production features an enthusiastic cast and energetic staging. 

The show is essentially based on the creation of the show itself, as writers Jeff Bowen and Hunter Bell collaborated and took their unlikely little musical to Broadway. It shows how the two friends came up with the concept and wrote the show in a few weeks to make the deadline for a theatre festival, enlisting their friends Susan and Heidi to star, and then later performed it off-Broadway and used a YouTube series to help raise their profile so they could bring the show to Broadway. Along the way, and with the help of their accompanist Larry, the duo and their cast explore the world of theatre in New York, as well as musical theatre conventions, famous musical flops, various references to other musicals and especially Into the Woods, and form a close bond that grows from the process of creating art together.

The cast features Katie Orr as Jeff, Jaelyn Hawkins as Hunter, Rachel Bailey as Susan, and Savannah Fernelius as Heidi, along with music director/keyboardist Mallory Golden as Larry. It’s a lively, energetic cast, with strong characterization and comic timing, and although some of the singing has a rough quality, that works for this show with its “grass roots” vibe. The script itself features clever songs and sometimes too-clever jokes and occasional moments of “profanity as humor” where simply saying a word gets a laugh. For the most part, though, this is an insightful, fun show, with a great cast and energetic, fast-paced staging.

The set by Caleb D. Long is simple but effective, and the costumes by Sam Hayes suit the characters well. There is excellent lighting by Catherine Adams and sound by Golden. This small-scale show works especially well in the Kranzberg Arts Center’s black box space, with the audience seated up close in an intimate setting.

This is the first production of this show I’ve seen, and I’m glad for the introduction. If you love theatre, you’re probably going to get many of the references here, and the overall attitude is one of love for theatre and the creative process. The cast and crew seem to be having a great time, as well. It’s a fun show, with an infectious energy. It works well as Prism’s first venture into musicals.

Jaelyn Hawkins, Rachel Bailey, Katie Orr, Mallory Golden, Savannah Fernelius
Photo by Cady Bailey
Prism Theatre Company

Prism Theatre Company is presenting [title of show] at the Kranzberg Arts Center until September 8, 2024

Read Full Post »

Vibrant “In the Heights” Entertains in Grand Muny Style

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

In the Heights
Music and Lyrics by Lin-Manuel Miranda, Book by Quiara Alegría Hudes
Conceived by Lin-Manuel Miranda
Directed and Choreographed by William Carlos Angulo
The Muny
August 10, 2024

Benji Santiago (center) and Cast
Photo by Phillip Hamer
The Muny

Before Hamilton, and before Lin-Manuel Miranda was a household name, there was In the Heights. Miranda’s first Tony-winning musical hit, In the Heights is now onstage at the Muny, in a production directed and choreographed by William Carlos Angulo that makes the most of the venues grand stage and outdoor setting. With a great cast and strong production values, this show brings New York’s Washington Heights neighborhood and its memorable residents to life in a dazzling, heartwarming, and hopeful presentation that’s sure to make a memorable impression on the Muny’s enthusiastic audiences.

The story is well-structured in that, while a lot is happening, it’s fairly easy to follow. Usnavi (Benji Santiago) is the protagonist and narrator, introducing the audience to his neighborhood, the predominantly Latino Washington Heights in New York City. Usnavi runs a bodega assisted by his teenage cousin Sonny (Miguel Gil), and it seems like everyone comes to his store for their coffee and lottery tickets, so Usnavi knows basically everybody. There’s the Rosario family: Kevin (Martín Solá) and Camila (Karmine Alers), who run a local taxi company, and Nina (Ariana Burks), their daughter who is returning to the neighborhood from her first year at Stanford with a secret she’s reluctant to share. There’s also Benny (Alex Joseph Grayson), who works for the Rosarios and wants to start his own cab company someday, and who shares a mutual attraction with Nina. Usnavi is attracted to Vanessa (Alysia Velez), who works at the local beauty salon run by Daniela (Darilyn Castillo), who loves to share the local gossip with Carla (Marlene Fernandez), who also works at the salon. And then there’s Abuela Claudia (Nancy Ticotin), who is essentially the neighborhood’s honorary grandmother, and who practically raised Usnavi after his parents died when he was young. There are also local neighborhood characters such as Piragua Guy (Eddie Martin Morales)–who sells frozen treats and hopes to keep his business going–and local street artist and Sonny’s friend Graffit Pete (U. J. Mangune). Over the course of the story, we learn about the hopes, dreams, disappointments and concerns of the characters and their community, as times change, revelations are shared, the summer heats up, and someone just may win a jackpot.

The big stage works well for Arnel Sanciancou’s expansive and detailed set, which makes the most of the Muny’s turntable and Caite Hevener’s vibrant projections. Rob Denton’s lighting, the sound by John Shivers and David Patridge, and Leon Dobkowski’s marvelous costumes work together to excellent effect to bring the St. Louis audience into the world of this New York City neighborhood, and the summer heat described in the story is also appropriate for St. Louis summers, although on the night I saw it the weather was mercifully mild. A few uniquely Muny touches are added as well, such as real fireworks that are perfectly timed with the music at the end of Act 1. There’s also a superb Muny orchestra led by music director Roberto Sinha, playing Miranda’s memorable score with style and serving as an strong background for the first-rate vocals of the cast.

As for the cast, everyone is marvelous, led by the supremely likable Santiago in a charming performance as Usnavi, who has excellent moments with the also excellent Gil as Sonny and Velez as Vanessa. Burks is also a standout as Nina, with strong vocals and amiable stage presence, working well with Grayson’s determined Benny as well as Solá and Alers as her parents. Castillo as Daniela and Fernandez as Carla have some fun comic moments as well, and Morales is in excellent voice as Piragua Guy. Ticotin, as Abuela Claudia, is marvelous as well, giving a heartwarming, powerfully sung performance that forms the “heart” of the show. The leads are backed by a spirited ensemble who fill out the neighborhood with energy and enthusiastic dancing in the production numbers.

In the Heights is a great show for the Muny. This thoroughly entertaining production fills the stage, and Forest Park, with music, energy, and fireworks, both literal and emotional. It’s a heartwarming story of family, friendship, and community in the midst of struggles and changing times and circumstances. It’s another marvelous success for the Muny’s 2024 season.

Cast of In the Heights
Photo by Phillip Hamer
The Muny

The Muny is presenting In the Heights in Forest Park until August 15, 2024

Read Full Post »

TWFSTL Examines “Life Upon the Wicked Stage” With Cleverly Linked One-Acts and Music

Posted in St Louis Theatre, tagged , , , , , , , on August 10, 2024| Leave a Comment »

Life Upon the Wicked Stage
A Trio of One-Acts by Tennessee Williams
Directed by Brian Hohlfeld
Tennessee Williams Festival St. Louis
August 10, 2024

Julia Crump, Julie Layton, Donna Weinsting, Dominic Di Cicco, Gary Wayne Barker
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

Life Upon the Wicked Stage is the title for Tennessee Williams Festival St. Louis’s showcase of three one-acts with similar themes. It’s also the title of the classic song that opens the show, sung by cast members Donna Weinsting, Julia Crump, and Julie Layton. These three, along with Dominic Di Cicco and Gary Wayne Barker, join in a production that examines the lives of theatre people in the first half of the 20th Century, along with interludes of classic songs that underscore the themes in the plays. It’s an intriguing presentation, well-acted and performed, fitting well into the small performance space at the Curtain Call Lounge. 

The three plays featured weren’t written to be performed together, but as presented here, they work to show a progression in the life of an actress as she ages and experiences life and relationships with men. The first play “In Our Profession” features Annabelle (Layton) as an eager young woman after a rendezvous with the older, more detached Richard (Barker). When Annabelle starts talking “serious” about marriage, commitment, and leaving the transient theatrical life, Richard calls on his more “sincere” young friend Paul (Di Cicco) to bail him out, only to have Annabelle turn her attention–and her charms–to him.  This is a humorous, fairly short story with fun performances from the cast and quick pacing.

Next, “The Magic Tower” shows a slightly older Annabelle, who is now married to the younger, idealistic artist Jim (Di Cicco), living in a small attic room owned by landlady Mrs. O’Fallon (Weinsting), who is suspicious of Annabelle. When Jim goes out to try to sell his artwork to a promoter, her old stage friends Mitch (Barker) and Babe (Crump) visit, with the goal of trying to convince Annabelle to join them back on the road with the theatre troupe. The chemistry between Layton and Di Cicco is convincing here, as is Layton’s sense of insecurity as her old friends sow doubt in her mind about her new relationship.

Finally, “The Fat Man’s Wife” casts Annabelle as a middle-aged woman in an unhappy marriage to theatre producer Joe (Barker)–or “Josie”, as she calls him. It’s New Year’s Day, and the two have just returned from a party, in which Annabelle shared a flirtation with an idealistic young playwright, Dennis (Di Cicco), who later appears with his own enticing offer. Here, Layton is excellent at portraying how her years of life have affected the older but still lonely Annabelle. Di Cicco and Barker are also excellent as the two contrasting men. 

The performance ends with Weinsting serenading the cast with Stephen Sondheim’s “I’m Still Here” as a reminder of the ups and downs of show business, and the cast joins in for a reprise of “Life Upon the Wicked Stage”. It’s a strong cast all around, with entertaining musical performances of various songs, and memorable acting in the three plays. There’s also excellent work from costume designer Teresa Doggett and musical director Tom Clear. It’s a clever way to join these three plays together, and a fascinating, thought-provoking examination of the life of a “show person”. 

The Tennessee Williams Festival St. Louis is presenting Life Upon the Wicked Stage at the Curtain Call Lounge until August 18, 2024

Read Full Post »

STLSF’s TourCo Entertains Up a Storm with Fast-Paced, Streamlined “Tempest”

Posted in St Louis Theatre, tagged , , , , , , , on August 10, 2024| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Tom Ridgely
St. Louis Shakespeare Festival TourCo
August 9, 2024

Alex Daspit, Daisy Held and Cast
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival’s TourCo is kind of like having a Shakespeare performance in your backyard. This year, with their production of The Tempest, it’s almost literally in my backyard, or close enough, since the location where I saw it was within easy walking distance for me. For others, there are a variety of locations it can be seen throughout the St. Louis Louis area, including various parks and other spaces. No matter where you have to drive–or walk–it’s well worth checking out, because this six-actor production with music, quick costume changes, and magnificent puppets is a wonder to see and hear.

This is a streamlined production that runs 90 minutes with no intermission, along with a fun intro in which the actors introduce themselves and the roles they play, along with giving a short description of the show and some examples of dialogue. Then, the story gets going in fast-paced fashion, as Prospera (Joy Christina Turner) and her daughter Miranda (Daisy Held) have been isolated on an island for years after being deposed by her brother Antonio (Reginald Pierre) and Alonso (Alex Daspit), the King of Naples. There, Prospera has taken up the magic arts and taken the spirit Ariel (Aliyah Jacobs) and Caliban (Isaiah Di Lorenzo) into servitude. Eventually, a ship containing Alonso and Antonio, along with Antonio’s son Ferdinand (also Daspit) is shipwrecked on the island, and father and son are separated, not knowing if the other has made it to shore alive. Ferdinand meets Prospera and Miranda, instantly falling in love with the latter–and the feeling is mutual. Meanwhile, butler Stefano (Pierre) and court jester Trinculo (Held) are stranded on another part of the island and meet with the disgruntled Caliban, who enlists them in a plot against Prospera. Eventually, of course, all the parties are going to meet, but much confusion, hilarity, and reflection ensue in the meantime. 

This is a fun, fast-moving production with some quick costume changes, and wonderful use of puppetry, with dazzling puppets designed by Ryan Marshall and operated by the actors. There’s clever staging to account for the fact that there are only six performers each playing multiple roles, and clever costumes designed by Sam Hayes that work well with the quick changes. There’s also excellent use of music and sound, as performers use various instruments for sound effects and accompaniment, and cast members Jacobs and Turner each get moments to showcase their excellent vocals.

The cast is energetic and cohesive, working well together and managing the quick character changes with style. Turner as Prospera projects a strong air of authority, as well as a range of emotions as the story progresses. Held is also strong as the somewhat innocent Miranda and the comical Trinculo. Daspit does well with the distinction between father and son, switching between Alonso and Ferdinand through the donning and doffing of a crown. Daspit and Held as the young lovers display believable and sweet chemistry, as well. There are also strong turns from Pierre and Di Lorenzo in their dual roles, as well as Jacobs, who is marvelous as the ethereal Ariel. 

TourCo is such a great idea, and this production works well with their format of small-cast, portable shows that can be performed in a variety of spaces. It works  as “entry level” Shakespeare for newbies, or a fun version for seasoned fans of the Bard, as well. With truly stunning puppet work and  excellent cast and technical effects, this Tempest is sure to entertain. 

Joy Christina Turner
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Lous Shakespeare Festival’s TourCo will be presenting The Tempest in various locations throughout the St. Louis area until August 25, 2024

Read Full Post »

TWSTL’s Intense “Cat on a Hot Tin Roof” Sizzles at the Grandel

Posted in St Louis Theatre, tagged , , , , , on August 10, 2024| Leave a Comment »

Cat on a Hot Tin Roof
by Tennessee Williams
Directed by Michael Wilson
Tennessee Williams Festival St. Louis
August 8, 2024

Kiah McKirnan, Brian Slaten
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

Cat on a Hot Tin Roof  is one of Tennessee Williams’s most well-known plays, and I hadn’t seen it yet. I had seen a lot of his other shows, mostly thanks to the excellent work of the Tennessee Williams Festival St. Louis, but this one had evaded me until, thankfully, TWFSTL has filled that gap in my viewing repertoire in grand style this year. With a great cast and thoughtful staging, this production is a remarkable headliner for this year’s festival.

Although I hadn’t seen this play before, I was generally familiar with the story and characters. This production features a novel introduction from J. Samuel Davis as “The Writer”–essentially, Williams himself, setting up the story and situation, with a little bit of background information about Williams’s years in St. Louis working at a shoe company. Davis also appears in the “main” show in a dual role as Reverend Tooker and Doc Baugh, but the main focus is on the Pollitt family. In Act 1, we meet Brick (Brian Slaten) and Maggie (Kiah McKirnan), a married couple whose tension is obvious from the start. Brick, a former college and pro football star, is in a cast because he broke his ankle trying to jump some hurdles at his former high school in the middle of the night, and he’s been spending his time brooding and drinking lots and lots of booze. It soon becomes clear that his recent injury isn’t really what he’s brooding about. Maggie, for her part, is feeling neglected and pressured, considering Brick’s emotional distance and the fact that the couple hasn’t had any children and Brick’s brother Gooper (Eric Dean White) and his wife, Mae (Roxanne Wellington) have five, with another on the way. The family is gathered at the home of parents Big Daddy (Peter Mayer) and Big Mama (Kari Ely) to celebrate Big Daddy’s birthday, but also to deal with a brutal truth about Big Daddy’s heath that the adult children are keeping from their parents. There are also several unresolved relationship issues–between parents and children, between the siblings and in-laws, and between Brick, Maggie, and Brick’s late teammate and best friend, the much-mentioned Skipper, who may be dead but still looms large in Brick’s and Maggie’s memories, and in their relationship. The tensions simmer, boil, and overflow as the evening unfolds and revelations are shared.

This isn’t an “action” play as much as it’s a “characters and relationships” play, and direction and casting are crucial. Here, director Michael Wilson has staged the show with deliberate, thoughtful pacing, and a building tension that is punctuated by the frequent interruptions when real communication is attempted. The cast is excellent, with Slaten’s brooding Brick and McKirnan’s frustrated but stubbornly determined Maggie at the heart of the drama, along with equally stunning work from Mayer as the crass Big Daddy and Ely as a relentlessly invasive Big Mama, who is insistently upbeat until she can’t be. White and Wellington are also strong as the somewhat irritating, self-focused Gooper and Mae, and Davis is good as usual in his dual supporting roles. There are also memorable appearances from a trio of young performers as Gooper and Mae’s kids Trixie (Kate Kappel), Dixie (Tatum Wilson), and Sonny (Cooper Scheesele), who work well as distractions and interruptions at key moments in the drama. 

The look and atmosphere are well-maintained by means of James Wolk’s detailed set, that we see the actors setting up during the introduction, and Teresa Doggett’s marvelously detailed costumes reflecting the mid-century Mississippi setting. There’s also excellent lighting by Matt McCarthy. The sound is the only major issue I have with this production, as the actors could be difficult to hear from where I was sitting, and I often had to strain my ears to understand the dialogue. I assume (and hope) this is an issue that can be improved in the run of the show.

Aside from the audio issues, this is a remarkable production. It’s an ideal introduction to this celebrated work for the uninitiated (like I was), as well as for those who have seen it before, I imagine. It’s a tense, emotional show, with many personal issues of denial, repression, strained relationships, and thwarted hopes, all on display here portrayed with expert ability by an impressive cast. It’s a challenging, emotionally devastating theatrical experience.

Roxanne Wellington, Kari Ely, Eric Dean White
Photo by Suzy Gorman
Tennessee Williams Festival St. Louis

The Tennessee Williams Festival St. Louis is presenting Cat on a Hot Tin Roof at the Grandel Theatre until August 18, 2024

Read Full Post »

Fly North’s “Big Machine” is an Entertaining, Somewhat Cluttered Lesson in Industrial History

Posted in St Louis Theatre, tagged , , , , , , , on August 10, 2024| Leave a Comment »

Big Machine
Music, Lyrics, and Book by Colin Healy
Directed by Bradley Rohlf
Choreographed by Jordan Woods
Fly North Theatricals
August 4, 2024

Al Bastin and Cast
Photo by Ian Gilbert
Fly North Theatricals

The latest original musical from Colin Healy and Fly North Theatricals, Big Machine, is trying to be a lot of things–a history lesson, a depiction of corporate greed in the auto industry in the 2oth century, an examination of labor-management struggles, and more. What it most succeeds at is being an entertaining showcase for a catchy score and some memorable performances. It could use a bit more in terms of focus and editing of stories, but for the most part, it’s intriguing, and entertaining, with a cohesive look and branding if not an entirely cohesive story.

This show, which also is serving as the local headliner for the St. Lou Fringe Fest, is largely narrated by Thomas Midgely, Jr. (Al Bastin), a chemical engineer who also served as Vice President of the General Motors Chemical Company and has now developed an infamous reputation. The play tells Midgley’s story as he tries to market a product that “works” for its stated purpose but causes a variety of health issues. Midgely is portrayed as something of a an old-time hucksterish figure, or a slick car salesman, trying to cover obvious problems with a glossy veneer. The show also features one of GMCC’s factories and its employees, including manager Methuselah (Christopher Plotts) and new worker Ernest Olsen (Parker). Ernest was mysteriously transferred from another plant due to undisclosed issues, and he and his inventive young daughter, Grace (Maliah Strawbridge) are trying to start a new life in a new place. There’s also Rosie (Lili Sheley) and Gilda (Corrinna Redford), who are trying to organize the workers at the factory and exploring the ideas of communism. And then there’s  the mysterious Ethyl (Mack Holtman), who appears in various situations throughout the story, sharing songs with Midgley, making friends with Ernest, and offering advice to Grace.  All of these stories are supposed to tie together to tell a story of greed, workers’ rights, environmental issues in industry, as well as a bit of a hopeful slant in the character of Grace, although her story isn’t given as much time as it could.

The stories are a bit cluttered, and it’s not always clear where the main focus is supposed to be–on Midgley or on the factory workers, and specifically Ernest. There are many good ideas here and an especially memorable musical score featuring some catchy songs, although writer Healy seems to want to tell a lot of stories at once, with the result of creating some confusion about what the play is trying to say. Some of the characters aren’t given enough time to develop, either, and although the fantastical elements are intriguing, it’s not also clear what’s supposed to be “real” and what’s supposed to be fantasy. There’s a good story in here, but it needs some editing and there are too many unclear endings for the subplots. 

As for the performances, there are some excellent players here. Bastin commands the stage as Midgely, with a strong voice and youthful, persistent personality, while also managing to credibly portray a degree of desperation as the story goes on. Holtman as Ethyl is also memorable, with a versatile, engaging but slyly sinister edge. Strawbridge is a find as the energetic, optimistic Grace, although her role in the story could use some more time. Sheley and Redford are also strong as Rosie and Gilda, although their story is especially truncated, and Plotts makes the most of a difficult role as Methuselah, who isn’t given a lot to do either. The rest of the cast is strong, as well, with excellent singing and energetic dancing choreographed by Jordan Woods. 

The set by Caleb Long is effective, with it’s big, nebulous industrial machine the main backdrop with its brick wall covered with pipes and valves. Eileen Engel’s costumes are memorable and period-appropriate, as well, and there’s striking mood lighting by Tony Anselmo. The sound is a bit uneven in places, but the mixing is excellent for the first-rate band led by music director Healy. The music and look of this show are its strongest points, and they work well to tell this intriguing but somewhat cluttered story.

Even though it does have some obvious issues, especially with plotting, Big Machine is a highly promising new work. With its original story and subject matter, as well as Colin Healy’s excellent score, there’s a lot to like about this show from Fly North Theatricals. It works well as a headliner for the Fringe, and with some more workshopping and editing, it has the potential for even more success and notoriety. 

Cast of Big Machine
Photo by Ian Gilbert
Fly North Theatricals

Fly North Theatricals is presenting Big Machine at the Marcelle Theatre until August 18, 2024

Read Full Post »

SDT’s “Ruthless” Satire of Old Hollywood is a Hilarious Hit

Posted in St Louis Theatre, tagged , , , , , , , , on August 8, 2024| Leave a Comment »

Ruthless!
Book and Lyrics by Joel Paley, Music by Marvin Laird
Directed by Justin Been
Choreographed by Sara Rae Womack
Stray Dog Theatre
August 2, 2024

Sarah Gene Dowling, Finley Mohr, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Ruthless! is an apt title for the latest production from Stray Dog Theatre. A combination send-up/tribute to “Old Hollywood” and showbusiness in general, the show debuted off-Broadway in 1992 and become something of a cult favorite. In the hands of director Justin Been and an enthusiastic, talented cast, this show becomes an especially hilarious camp-fest, although I think it helps to be at least somewhat familiar with the material and genres that inform this musical.

At the heart of Ruthless! is an affectionate parody of various “Old Hollywood” and showbiz tropes, and more specifically stories like All About Eve, Gypsy, The Bad Seed, and Inside Daisy Clover. The story follows child prodigy Tina Denmark (Finley Mohr), whose mother, Judy (Sarah Gene Dowling) loves and supports, although she herself doesn’t know where her daughter would have gotten her talent, considering Judy herself sees herself as an untalented “typical” suburban housewife. Suddenly, the mysterious and ambitious talent agent Sylvia St. Croix (Sarajane Clark) appears, determined to make Tina a star. For Tina, however, stardom begins with getting the lead role in her school production of a Pippi Longstocking musical that was written and directed by her frustrated third grade teacher Miss Thorn (Anna Langdon), who once had Broadway ambitions of her own. When fellow student Louise Lerman (Sarah Lantsberger)–whose wealthy parents are bankrolling the show–threatens to get in the way of Tina’s ambitions, the story takes an even darker turn, and that’s only Act 1. Act 2 carries the saga to even greater, and campier, heights of raw ambition, complicated parent-child relationships, and power struggles as the show speeds up the pace on the way to living up to its title in frenetic, darkly hilarious fashion.

While the first act can be a little slow at times, the players give memorable and committed performances, led by Dowling in a versatile turn as the initially upbeat but conflicted Judy, who later undergoes a somewhat radical transformation. Clark is also fantastic as the mysterious, haughty Sylvia, and young Mohr is a delightfully disturbing blend of perky and (dare I say?) ruthless as Tina. There’s also a scene-stealing performance from Laura Kyro as Judy’s adoptive mother, theatre critic Lita Encore, who will not let anyone forget that she hates musicals. Langdon also has excellent moments as Miss Thorn, and Lantsberger offers strong, amusing support in a dual role as Louise Lerman and as Judy’s assistant “Eve” in Act 2. It’s a cohesive cast, and the chemistry between Dowling, Clark, and Mohr is especially memorable, with a ferocity that adds to the overall dark-comic atmosphere of this production. 

The look of this show is a well-realized mid-century marvel, as well, with an effective set by Rob Lippert and marvelous costumes by Colleen Michelson that add to the overall classic showbiz look. There’s also strong work from lighting designer Tyler Duenow and sound designer Been. The small band, led by music director Randon Lane, adds much to the overall sound of the catchy score and lending able support to the excellent singing.

Another fun touch in this show is all the references to the shows and films it’s parodying, which is another reason it’s helpful to be familiar with a lot of those stories. While it does have it’s slow moments, Ruthless! is, for the most part, a whole lot of fun. If you’re looking for a campy, fiercely dark showbiz musical with the glamour of the “old days’ and energetic performances, SDT’s current production is a good place to go.

Sarajane Clark, Sarah Gene Dowling, Laura Kyro
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ruthless! at Tower Grove Abbey until August 24, 2024

Read Full Post »

Energetic “Newsies” Take the Stage by Storm at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on August 2, 2024| Leave a Comment »

Disney’s Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Steve Bebout
Choreographed by Lindsay Joy Lancaster
STAGES St. Louis
August 1, 2024

Daniel Marconi (center) and Cast
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is continuing its 2024 season with a vibrant, energetic production of a popular modern musical inspired by a real historical event. Disney’s Newsies began as a movie in 1992, but the stage version that opened on Broadway in 2012 has become a big international hit, and this is the fourth production of the show I have seen. At STAGES, the familiar characters, music, and high-energy dancing are all here, but slightly scaled down for the smaller space, and it works especially well, bringing new attention to aspects of the story and characters, and presenting the story in an approachable and thoroughly entertaining manner. 

The now-familiar story is highly fictionalized from actual events, though it is based on an actual strike of newspaper carriers in New York City in 1899. Here, the hero is Jack Kelly (Daniel Marconi), an orphan and “newsie” who escaped from “the Refuge”, a  rough and abusive home for “troubled” youth.  He tells his friend Crutchie (Matthew Cox) about his dreams of moving out west, but before that can happen, the two and their fellow paper carriers find themselves in the midst of a conflict with Joseph Pulitzer (Christopher Gurr), who suddenly raises the price that the newsies pay for the papers they deliver, making it hard for them to earn enough money to live on. New Newsie Davey (Richard Spitaletta) and his kid brother Les (Davin Wade) help inject some energy into the group as the idea for a strike is brought up, and Davey becomes the “brains” of the operation while Jack is the charismatic “face”. Meanwhile, the newsies’ cause is boosted by aspiring young reporter Katherine (Taylor Quick), who hopes to become a more serious journalist and not be stuck in the “girl reporter” role of writing for the Society page. Jack and Katherine develop an attraction, but Katherine has a secret she’s not sharing that could threaten their relationship. As the newsies fight the establishment, led by Pulitzer and his allies, they are aided by local entertainer Medda Larkin (Anita Michelle Jackson), for whom the talented artist Jack paints backdrops and who lets the newsies use her theatre for a union rally. As the conflict heats up and the tensions rise, the newsies band together for their cause and there’s a lot of energetic singing, athletic dancing, and a persistent quest for hope against difficult odds. 

This show usually features a large cast, and the group here at STAGES is enough to fill their smaller stage, but noticeably not as numerous as other casts I’ve seen. Still, what they lack in numbers, they make up for in sheer enthusiasm, presence, and energy. Marconi is excellent as the charismatic dreamer Jack, who has to fight his own sense of inadequacy and embrace his potential and his found family. Marconi’s got a strong voice and plenty of charisma, and he works well with the also excellent Cox as the mistreated but hopeful Crutchie and Spitaletta as the clever, enterprising Davey. He also has strong chemistry with Quick’s gutsy, strong-voiced Katherine.  The rest of the newsies are also strong, with impressive dance skills for some truly thrilling production numbers featuring Lindsay Joy Lancaster’s spirited choreography. There are also memorable performances from young Wade as the plucky, outspoken Les, Jackson as the sympathetic, kind Medda, John Flack as the creepy Snyder, who runs the Refuge; and especially Gurr ,who manages to provide some depth and ferocity to the role of Pulitzer, who can often come across as something of a cardboard villain. 

The production looks great, as well, with a dynamic set by Anne Beyersdorfer that features many moving pieces including scaffolding, beams, pillars and rails reflecting the late 19th Century city vibe, backed by Saki Kawamura’s memorable projections. There are also colorful, detailed costumes by Brad Musgrove that fit the characters and atmosphere well. There’s also vibrant lighting by Sean M. Savoie and sound design by Mike Tracey that works well for the most part, despite some mixing issues in the first part of Act One that can make the singing harder to hear.

This staging of Disney’s Newsies is a lot of fun! It’s the same story you might already know, but scaled to its space with thoughtful staging a a great deal of energy. It’s a story that can resonate with several generations. STAGES is continuing its season with style, talent, and infectious enthusiasm. 

Cast of Disney’s Newsies
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Disney’s Newsies at the Kirkwood Performing Arts Center until August 25, 2024

Read Full Post »

“Waitress” Delivers an Entertaining, Sweet Treat at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , on August 1, 2024| Leave a Comment »

Waitress
Book by Jessie Nelson, Music and Lyrics by Sara Bareilles
Directed by Lili-Anne Brown
Choreographed by Chloe O. Davis
The Muny
July 31, 2024

Nicole Michelle Haskins, Lissa deGuzman, Jessica Vosk
Photo by Phillip Hamer
The Muny

Who doesn’t like pie? Well, maybe a few people don’t, but if you do, the latest production from the Muny will probably have you wanting to bake, or at least buy, one (or several). Waitress, with a score by singer-songwriter Sara Bareilles, is on stage now in Forest Park with a unique look and atmosphere compared to the Broadway production, and the national tour that I saw at the Fox five years ago. With impressive production values that make the most of the Muny’s outdoor venue and huge stage, and a first-rate cast led by a remarkable lead performance, this Waitress is serving up an entertaining, engaging musical treat.

The story of Jenna (Jessica Vosk) is a bit messy, to say the least. She’s a talented pie-baker who works as a waitress at Joe’s Pie Diner, while also making the pies and inventing the recipes, giving them quirky names and often reciting the recipes as she thinks them up. These are the parts that’s going to make many in the audience want to visit the nearest bakery after the show. In addition to the pies, though, Jenna has a rough life–finding out she’s pregnant and not knowing what to feel. She’s living with a selfish, abusive husband, Earl (Ben Crawford) and wondering if she will be stuck in a similar existence as her mother (Kaitlyn Louise Smith, seen in flashback sequences), who taught Jenna to bake and endured a violent relationship with Jenna’s father. Meanwhile, Jenna’s friends and co-workers at the diner, the tough-talking Becky (Nicole Michelle Haskins) and the socially anxious Dawn (Lissa deGuzman) have their own difficulties, with Becky caring for an ailing husband and hiding a personal secret of her own, while Dawn tries to work up the nerve to start dating, and then deals with the attentions of a persistent suitor, Ogie (Troy Iwata), to whom she is attracted but who also initially makes her nervous. There’s also Cal (Jonah D. Winston), the crusty cook and manager of the diner, and Joe (Cleavant Derricks), the diner’s owner, who acts rough around the edges and tells stories of his earlier amorous exploits, and who also forms a friendship with Jenna. Jenna’s story continues as Joe makes her aware of  an upcoming pie contest, in which she could win money to help her start a new life, while she also meets her new OB/Gyn, Dr. Pomatter (Devin DeSantis), with whom she develops an attraction that’s hard to resist. 

It’s a complex story, as Jenna navigates her life and considers various choices, as do her friends and co-workers. Like real life, things can get messy, and there are difficulties and regrets along the way, and some of the characters are more likable than others–sorry, show, but I’m still not much of a Dr. Pomatter fan, even though I like him more this time than I did in the touring show, owing to the strong performance from DeSantis, who has believable chemistry with the excellent Vosk. Vosk, for her park, is fantastic, with a powerful voice and relatable stage presence. She works well with her fellow waitresses, especially–the also excellent Haskins and deGuzman, who both have their moments to shine. There are also standout performances from Iwata as the enthusiastic and quirky Ogie, Derricks as the cranky but kind Joe, Winston as the gruff Cal, and Patricia A. Jewel as Dr. Pomatter’s nurse, Norma. Crawford is also memorable in a villainous turn as the controlling, possessive Earl. There’s also a strong ensemble, including adults and teens, to back up the leads and add to the overall atmosphere of this vibrant production.

Another area in which this production especially shines is in its overall look and atmosphere, which departs quite a bit from the Broadway and touring shows. The setting, described as “The American South” in most synopses I’ve seen, has been defined as Texas here, judging by the flag flying on the diner’s roof and the overall layout of the diner itself, which reminds me a lot of places I’ve seen and visited on trips to the Lone Star State. Wilson Chin’s set is simply stunning, filling the stage with an authentic looking diner with outdoor seating, a real camper trailer, and real cars parked on the stage with appropriate Muny flair. The costumes by Raquel Aderno are superb, as well, veering away from the distinctive look of the Broadway production and adopting a vibrant, eye-catching color palette that works especially well in the large Muny space. There’s also excellent video design by Mike Tutaj, lighting by Heather Gilbert, and sound by John Shivers and David Patridge. Bareilles’s wonderful score is brought to life memorably as well by the lush-sounding Muny Orchestra led by music director Andra Velis Simon.

This show is a new one for the Muny, and it’s a truly impressive production. With moments of humor, drama, poignancy, and hope, this is a production that helps viewers take a new look at the material even if they’ve seen the show before. It’s a bit of a complicated story with occasionally crass moments, but the ultimate message is finding hope in the midst of life’s imperfections. Waitress is a fairly popular show, which has developed a following over the past few years, and this production directed by Lili-Anne Brown has gone its own way and achieved sweet success. 

Cast and Set of Waitress
Photo by Phillip Hamer
The Muny

The Muny is presenting Waitress in Forest Park until August 5, 2024

Read Full Post »