Archive for September, 2024

New Line’s “American Idiot” Rocks the Marcelle–Again!

Posted in St Louis Theatre, tagged , , , , , , , , , on September 26, 2024| Leave a Comment »

American Idiot
Music by Green Day
Lyrics by Billie Joe Armstrong
Book by Billie Joe Armstrong and Michael Mayer
Directed by Chris Moore and Scott Miller
Choreographed by Chelsie Johnston
New Line Theatre
September 21, 2024

Cast of American Idiot
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s latest season is all about revisiting their past successes, and hopefully offering a new perspective, introducing these well-known shows to new audiences with fresh eyes. The first offering is American Idiot,  Green Day’s ode to disaffected youth in the first decade of the 21st Century, based on the band’s popular concept album and ringing with their melodic punk hits sung by a strong and memorable cast. The look is a little different than last time, but the message comes across just as well, and maybe even a little more clearly.

The story is a sex-drugs-and-rock ‘n roll–filled journey of self-discovery for three young friends–Johnny (Clayton Humburg), Tunny (Rafael DaCosta), and Will (DeAnté Bryant), who are tired of their aimless suburban existence and want to check out life in the big city. Johnny buys them all bus tickets, but only he and Tunny are able to go, because Will’s girlfriend Heather (Rachel Parker) has a surprise in store. So, Will reluctantly stays home, and Johnny and Tunny each face a different fate in the city. Johnny meets a girl identified only as Whatsername (Lauren Tenenbaum) while also indulging in the more seedy elements of city life under the influence of alter ego St. Jimmy (Bee Mecey). Meanwhile, Tunny is seduced by patriotic propaganda represented by a character known as the Favorite Son (Jordan Ray Duncan), and joins the military, going overseas and experiencing the violence of war, while the disappointed Will sits home drowning his sorrows in alcohol, pot, and video games. The various trials present the young men with challenges that shape their perspective on the world and their place in it, while the show also examines the state of life in America in the post-9/11 era with a critical eye, but also leaves room for hope amidst the chaos and confusion.

Although I enjoyed the show last time New Line staged it in 2016, my biggest issue with that production was in the way the set was laid out, because so much was happening at once and was spread out across the back wall of the space at the Marcelle, making it difficult to follow the action and to hear everything. This time, the staging is similar, but improved, in that one third of the staging area is taken up by the excellent New Line Band, led by music director John Gerdes, assembled behind a chain-link fence to make them part of the scenery as well as providing the driving musical backdrop for the production. Some of the story is performed in front of this fence, but the bulk of the action happens on the rest of Rob Lippert’s simple but striking set, allowing the audience to focus a bit more on what is happening while also showcasing the music and energetic choreography by Chelsie Johnston. The costumes by Lauren Smith Bearden are detailed and striking, helping maintain the overall vibe, augmented by Ryan Thorp’s excellent atmospheric lighting. The staging of the group musical numbers is especially dynamic, with familiar Green Day hits like “Holiday” and “Boulevard of Broken Dreams” adding energy to the overall vibe and storytelling.

The casting is excellent, led by dynamic performances from Humburg as the thrill-seeking Johnny, Bryant as the aimless Will, and especially DaCosta as the initially directionless but eventually profoundly devastated Tunny. All three have strong voices and presence, carrying their numbers with clarity and authenticity. There’s also strong support from Tenenbaum as the determined Whatsername, Duncan as the charismatic Favorite Son, Mecey as the edgy, confrontational St. Jimmy, and Adrienne Spann as Tunny’s army mate and fantasy “dream woman”, the Extraordinary Girl. Parker also does as well as possible with the underwritten role of Heather–the only named woman character in this largely male-focused show. There’s also an enthusiastic ensemble adding to the energy of the story and contributing strong vocals to the driving, crunchy score by Billie Joe Armstrong and Green Day.

If you love Green Day, you’ll probably enjoy American Idiot. Even if you are not as familiar with the band and their music, however, there is a compelling, well thought-out message here, even though it does have its flaws. In terms of the production itself, this is another strong effort from New Line Theatre, proving that revivals can be just as effective as their original productions, and sometimes even more so.

Cast of American Idiot
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting American Idiot at the Marcelle Theatre until October 5, 2024

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“Dial M” for Marvelous as the Rep Opens a New Season With Slickly Staged Classic Thriller

Posted in St Louis Theatre, tagged , , , , , , on September 26, 2024| Leave a Comment »

Dial ‘M’ For Murder
by Frederick Knott
Directed by Melissa Rain Anderson
Repertory Theatre of St. Louis
September 20, 2024

Jayson Heil, Jordan Coughtry, Jenelle Chu
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is known for sets that make me say “wow!” Their latest production, Dial ‘M’ For Murder, is another strong example of this trend. The first thing audiences will notice, in fact, is the swanky mid-Century modern apartment set that may make viewers want to move in, or at least stay over for the night. But, considering what happens in this story, you might not want to stay over at this place. Perhaps best known for the 1954 Alfred Hitchock film adaptation, Frederick Knott’s old-fashioned suspense thriller is given a first-rate, well-cast, great-looking production by director Melissa Rain Anderson and an excellent cast and crew. 

Although this isn’t the film, the presentation here is somewhat cinematic, with excellent visuals and audio, well-synchronized with the precisely paced plot. The story follows married couple Margot and Tony Wendice, who seem to be happy with their relationship and upper-class London lifestyle. From the start, however, we meet Margot’s old friend, American television writer Max Halliday, and find out that everything wasn’t so rosy between the Wendices in the fairly recent past. Margot and Max had apparently indulged in an illicit relationship, but that’s been over for a year, although at least Max seems to still carry a torch. Margot is now devoted to Tony, a once-immature former tennis star who seems to have turned over a new leaf, but has he? Enter the mysterious Captain Lesgate–real name Swann–with whom Tony meets on the pretense of buying a car. But what is he really up to? Soon, a murder is planned, and the wrong person ends up dead, bringing in the intrepid Inspector Hubbard to investigate. Although the audience is made aware what’s happening all along, major characters are clueless, as the story moves along to its suspenseful conclusion. 

I won’t give too much away, but if you’re familiar with the film, you will know what’s going on. The tension and atmosphere are what drives this story, with a bit of a Hitchcockian tone that helps the story along and a mid-Century vibe and manner of presentation that sometimes elicits laughs from the audience, even though I’m not sure they’re intended. Still, this show is immensely entertaining, with a fast pace and a well-realized look and atmosphere, leading up to a satisfying but somewhat abrupt ending.

The look of this show is striking, with a stylish, richly appointed set by Margery Spack and Peter Spack and chic costumes by Ruby Kemph. The lighting by Minjoo Kim and sound by Amanda Werre are also marvelous, with excellently timed effects that add to the overall suspenseful tone of the story. 

As for the acting, the cast is strong across the board, led by Jenelle Chu in a likable turn as Margot, who has memorable moments with Jordan Coughtry’s charming but evasive Tony, and Jayson Heil as the earnest writer Max. There’s also a terrific performance from Eric Dean White as the clever, persistent Inspector Hubbard, and a memorable turn by David Weynand as the menacing Lesgate–or is it Swann? Ethan Stewart rounds out the cast as Hubbard’s associate Thompson. 

Overall, Dial ‘M’ For Murder is a thriller that lives up to its description. With fantastic production values, a great cast, and a fast-paced, suspenseful tone, this is a production that reminds audiences why this play is a classic. It’s an exciting start to the Rep’s 2024-2025 season.

 

Eric Dean White, Jordan Coughtry
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Dial ‘M’ For Murder until October 13, 2024

This review was originally published at kdhx.org

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Thoughtful “Trayf” Looks at Levels of Devotion, Friendship, and Belonging at NJT

Posted in St Louis Theatre, tagged , , , , , on September 22, 2024| Leave a Comment »

Trayf
by Lindsay Joelle
Directed by Aaron Sparks
New Jewish Theatre
September 20, 2024

Jacob Schmidt, Bryce A. Miller
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a look at loyalty, devotion, and friendship, as well as the conflicts between devout religious faith and more worldly pursuits. While Trayf is set in a specific time, place, and in a particular sect of Chasidic Judaism, there are several universal themes here that are relatable regardless of your particular cultural or religious background. The thoughtful, thought-provoking script is best at highlighting a particular friendship among the two main characters, and this production from NJT features some strong performances as well as excellent production values to bring the audience into the world of these intriguing characters. 

The story is set in Brooklyn and Manhattan in 1991. Zalmy (Jacob Schmidt) and Schmuel (Bryce A. Miller)–or “Schmuely” to his friends–are two young best friends who grew up together as part of the Chabad-Lubavitch Chasidic Jewish community in Crown Heights, Brooklyn. As the story begins, they sit in their rented “Mitzvah Tank” preparing to go out in the community as “Lamplighters” doing good deeds with the hope of awakening the “Jewish souls” of Jewish people in the outside world. They geek out over tapes of their leader, Rebbe Menachem Mendel Schneerson, and share their enthusiasm for their cause, although it becomes clear early on that Zalmy has more interest in the outside world, expressing curiosity about celebrities, “secular music”, and more. Soon, the friends meet Jonathan (Spencer Sickmann), a disenchanted employee at a music store who was raised Catholic, but has discovered that his recently deceased father had Jewish ancestry. Zalmy is fascinated with Jonathan’s experience in the wider world, and while Jonathan gets more absorbed in the world of Chasidic Judaism, Zalmy is eager for mixtapes, Broadway theatre tickets, stories of Jonathan’s amorous exploits, and more. Meanwhile, Schmuel becomes bothered by his friend’s increasing interest in spending time with their new “student”. Jonathan’s newfound interest in Judaism also upsets his girlfriend, Leah (Annie Zigman), who is Jewish herself, but not Chasidic. As the relationship between the Zalmy and Schmuel and Jonathan develops, tensions rise, and the foundations of friendship and deeply held beliefs are tested.

This is a story of challenged loyalties, reasons for devotion, and the question of balance between devout religious faith and a believer’s relationship with the outside world. This is a theme that can be relatable not only for Jewish people, but also for adherents of many religions and religious communities. It’s also a tale of a close lifelong friendship, and the challenges the friends face as they grow up and react to their environment differently. This is also a relatable experience for many, regardless of religious faith. It’s also a vivid depiction of a particular time and place in American history, and the early 90’s vibe is well maintained by means of Lily Tomasic’s eye-catching set, Kareem Deanes’s ear-catching sound design, and Michel Friedman Siler’s detailed costumes. Michael Sullivan’s lighting also adds much in the way of atmosphere and tone to the unfolding story.

The script is fascinating and intriguing, and the focus on Zalmy and Schmuel is its strongest point. The actors who play these roles portray a palpable sense of connection and bond, with Schmidt’s eager, curious Zalmy and Miller’s enthusiastic but more cautious Schmuel both turning in excellent portrayals. Sickmann is also strong as Jonathan, although it doesn’t seem like his role is given an adequate resolution. Zigman is also memorable in her one scene as the conflicted Leah. It’s a strong cast all around, and the characters–especially the main two–drive the plot, so the casting is essential. 

Trayf offers a lot to think about, as well as a window into life in a religious community that isn’t especially well-known in 2024. It’s an insightful look at devotion in various forms–to religious faith, to friends and family, to community, and to one’s personal ideals and goals. What stands out the most, though, is the central relationship, with richly drawn characters who are relatable and believable, even if audience members don’t share their particular beliefs or life experiences. This is a fascinating play, and a thoughtfully staged, well-paced production from New Jewish Theatre.

Jacob Schmidt, Spencer Sickmann
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Trayf at the J’s Wool Studio Theatre until September 29, 2024

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Stellar Cast Sings Melodic “Blues in the Night” at the Black Rep

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

Blues in the Night
by Sheldon Epps
Directed by Ron Himes
Choreographed by Heather Beal
The Black Rep
September 18, 2024

De-Rance Blaylock, Adrianna Jones, Amber Alexandria Rose
Photo by Keshon Campbell
The Black Rep

The Black Rep’s introduction to their 2023-2024 season is a tuneful revue that showcases the impressive musical abilities of the cast, music director, and band. With a title like Blues in the Night, the show’s atmosphere and genre are made clear, as the alternately sultry, smooth, and yearning sounds of blues and jazz classics inform the 1930s setting and mood in this production that is more about sound, mood, and culture than plot. 

According to the program, the setting is Chicago in the late 1930s. The location is a rooming house or hotel, with three neighboring residents billed as The Lady (De-Rance Blaylock), The Woman (Adrianna Jones), and The Girl (Amber Alexandria Rose). While there isn’t any real dialogue, there is a bit of narration by The Lady, as she introduces her neighbors and their situations. She herself is a veteran stage performer at the twilight of her career, reveling in memories of the past, while The Woman is elegant and stylish but lonely, while The Girl is younger and less experienced in life, eager to experience the joys of romance. Meanwhile, The Man (J. Samuel Davis) hovers around the scene, commenting on the state of the women’s situations while trying to pursue some romantic action of his own. The general themes featured in the classic blues songs are highlighted throughout the evening–of lonely but still hopeful women, rakish and irresponsible men, and the various struggles in the relationships between men and women. There’s an overall “nightclub” atmosphere as well, represented by a bar and the house band, with whom the various performers interact from time to time, which adds to the overall jazzy and bluesy mood of the show.

The “Night” part of the title is represented in the music, but also in the production values, from the well-appointed set by Jamie Bullins, to the detailed costumes by Gregory J. Horton, and especially the evocative lighting by Travis Richardson, emphasizing tones of blue, red, and purple. The sound by Justin Schmitz and the lively band led by music director and pianist Khalid McGee add much to the overall quality of the show, delivering tune after tune in style and working well with the singers. There are also fun moments of smooth and energetic choreography by Heather Beal, danced especially well by Jones and Davis.

As for the singers, they are nothing short of spectacular, delivering all the emotion and musicality of the blues and jazz numbers, as well as presenting strongly realized characters through song. Blaylock has quickly become one of my favorite singers in the St. Louis theatre scene, and she doesn’t disappoint here, delivering some powerful numbers displaying her full range and vocal control, with moments of wit as well as intense emotion. Jones and Rose are also excellent, with Jones especially displaying strong dance ability along with impressive vocals, and Rose having some strong emotional moments as well. The always excellent Davis lends strong support as the smooth-talking, charming and scheming Man. The harmonies between the performers in the group numbers are also especially memorable, particularly when all three women sing together. 

Overall, even though there isn’t really a story here, Blues in the Night is an entertaining experience. If you love the blues and jazz music of the first half of the 20th Century, and if you are looking for an immersive, atmospheric musical experience, this is a show that’s sure to entertain.  It’s another example of theatrical excellence from the Black Rep.

De-Rance Blaylock, J. Samuel Davis
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Blues in the Night at Washington University’s Edison Theatre until September 29, 2024

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