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Archive for the ‘St Louis Theatre’ Category

Rodgers & Hammerstein’s Cinderella
Music by Richard Rodgers Lyrics by Oscar Hammerstein II
New Book by Douglas Carter Beane, Original Book by Oscar Hammerstein II
Additional Lyrics by Douglas Carter Beane, David Chase, and Bruce Pomahac
Directed by Marcia Milgrom Dodge
Choreographed by Josh Walden
The Muny
July 8, 2019

Jason Gotay, Mikaela Bennett (Center) and the cast of Rodgers & Hammerstein’s Cinderella
Photo: The Muny

“Muny Magic” is a familiar phrase for the musical theatre company that has become a fixture in Forest Park. So far, the Muny has been firing on all cylinders with their newly refurbished stage and excellently staged productions for their 101st season. The latest show, Rodgers & Hammerstein’s Cinderella, seriously brings the “magic” to the forefront, with a dazzling, energetic and superbly cast production that makes me see the show in a new light, even though I’ve seen this revised version before.

This show isn’t all Rodgers and Hammerstein, even though they’re billed before the title. Although it features a classic score by the legendary team, this version has a new book by Douglas Carter Beane, and a few lyrical additions as well. It’s a revamping of the classic story that retains its Fairy Tale setting but is given a modern twist, with some new characters and more for Cinderella to do than dream of meeting a prince, although she does that too. Here, Cinderella (Mikaela Bennett)  wants to make the world a better place, by showing kindness to those around her and encouraging people–including heir to the throne Prince Topher (Jason Gotay), and idealistic activist Jean-Michel (Chad Burris) to stand up for what they believe. Also, one of her stepsisters, the sweetly goofy Gabrielle (Stephanie Gibson), isn’t mean, and she’s in love with Jean-Michel. The over-the-top vain stepmother Madame (Alison Fraser) is here, making Cinderella’s life miserable and trying to make sure one of her daughters, Gabrielle and the brash, selfish Charlotte (Jennifer Cody) marries the Prince after he invites the eligible women of the land to come to a ball where he hopes to meet his bride. Well, he’s actually more reluctant, and the ball is the idea of his scheming, power-hungry adviser Sebastian (John Scherer), but the ball does happen, and Prince Topher meets the glammed-up Cinderella and falls in love, only for her to flee at midnight and… well, you know the story, or at least you know some of it. There are some added twists here, and the plot is changed up a bit from what you might expect, but the familiar elements are here, from the glass slipper to the pumpkin coach, to the Fairy Godmother, who here is a neglected village outsider named Marie (Ashley Brown), who is treated kindly by Cinderella. In fact, kindness is at the forefront in this production, as personified by Cinderella. Kindness, as well as standing up for one’s convictions, are the major themes here. The familiar songs, from “My Own Little Corner”, to “Ten Minutes Ago”, to “Impossible”, are all here along with some additional songs for a magical, tuneful experience that’s sure to appeal to all ages.

I had seen this show before, when the tour based on the Broadway production first played the Fox Theatre, and I remember liking it, mostly, but not this much. This version at the Muny has an energy and spirit that’s new and works especially well on that giant stage in front of the large Muny audience. It also seems to flow better and, although it’s still not the deepest of stories, it makes more sense here. The casting makes up for a lot of the difference, I think, with no weak links and a lot of memorable performances, led by the truly remarkable Bennett as Cinderella, who has all the presence and warmth required for the role and then some, along with a glorious voice. She also has great chemistry with the appropriately charming Gotay as Prince Topher, who brings a lot of likability to the role along with a smooth, powerful voice of his own. Brown as Marie is also excellent and vocally stunning, as is Victor Ryan Robertson as the prince’s herald, Lord Pinkleton. There are standout comic performances as well, from  Fraser as a gleefully vain Madame, and Cody who has a delightful comic solo in “Stepsister’s Lament”, backed by a strong, energetic ensemble. Gibson is also a delight as Gabrielle, well-matched with the amiable Burris as the idealistic but socially awkward Jean-Michel. The Muny’s Youth Ensemble is employed especially well here, also, operating puppets for the various animals in the play (mice, raccoons, etc.), among other roles. The key word here, I think, beyond “magic” is “energy”. There’s a ton of it in this large, enthusiastic cast, making the production numbers particularly entertaining.

Technically, the show isn’t over the top with the special effects, but it still looks fantastic. There are some fun effects here and there, especially with outfit transformations, and Paige Hathway’s set is whimsical and colorful. There are also dazzling, distinctive costumes by Robin L. McGee, clever puppets by Puppet Kitchen International, Inc. and Eric Wright, fun video design by Nathan W. Scheuer, and dazzling lighting by Rob Denton. The array of brightly colored wigs by Kaitlyn A. Adams also add a lot of quirky flair to the show. The staging is well-paced, with energetic choreography by Josh Walden, and everything is ably backed by the terrific Muny Orchestra led by music director Greg Anthony Rassen.

This is such a fun show. It’s a Cinderella for today that’s about magic and celebrating kindness more than anything else, and it gives audiences a Cinderella and Prince who are credible as a couple, and as equals. It’s also full of whimsical, fantastical spirit, with that classic Rodgers and Hammerstein score that probably will end up playing in your head for the rest of the night. It’s another strong production from a particularly stellar Muny season.

Alison Fraser, Mikaela Bennett, Stephanie Gibson, Jennifer Cody
Photo: The Muny

The Muny is presenting Rodgers & Hammerstein’s Cinderella in Forest Park until July 16, 2019

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LaBute New Theater Festival 2019
Set One
St. Louis Actors’ Studio
July 5, 2019

St. Louis Actors’ Studio’s latest installment of their annual LaBute New Theater Festival is now under way at the Gaslight Theatre. The first set of plays, which opened over the weekend, feature a variety of thought-provoking, timely issues, along with some memorable characters and strong performances. Here are some brief thoughts:

“Great Negro Works of Art”

by Neil LaBute

Directed by John Pierson

Carly Rosenbaum, Jaz Tucker
Photo by Patrick Huber
St. Louis Actors’ Studio

The first play of the evening is the annual work by the Festival’s namesake playwright, Neil LaBute. It’s also the first of two plays in the set that deal in some way with what can be best described as “the perils of online dating”. That issue is more directly addressed in the set’s second play, but it’s an issue in this one as well, although other topics are more prominent. This pairing features Jerri (Carly Rosenbaum), who is white, and Tom (Jaz Tucker), who is black, who are meeting in person for the first time after communicating online. Jerri chose the location, which is an art exhibit with the same provocative title as the play itself. The main focus here is on the interplay between Jerri and Tom, who points out the similarity of their names to the well-known cartoon characters, as well as cringing at Jerri’s increasingly flippant and obtuse comments and ignorance not only of African-American culture, but also apparently of her own inability to listen and recognize her obtuseness. It’s an all-too-realistic encounter, which serves as a challenge to the systems in society that have historically recognized works of white artists over those of artists of color, as well as a challenge to individuals (especially white individuals) to recognize how they contribute to this disparity. The performances of both performers are strong, and the play is both an intense character study and a thought-provoking personalization of timely issues.

 

“Color Timer”

by Michael E. Long

Directed by Jenny Smith

Shane Signorino, Rachel Bailey, Colleen Backer
Photo by Patrick Huber
St. Louis Actors’ Studio

 

Or “The Perils of Online Dating, Part 2”. In this play, the couple in question features intellectual Aaron (Shane Signorino), and calculating reality TV production worker Stacy (Colleen Backer). They meet for their first date at a restaurant, and Stacy comes on strong, challenging Aaron with confrontational questions and a few shocking revelations. This play, more than the first, is a more direct examination of dating in the age of technology, as well as the challenges and perils of a tech and entertainment-oriented society in general. The highlight here is Backer’s gleefully brash and enigmatic performance, along with excellent performances by Signorino as a man put on the defensive and by Rachel Bailey as a well-meaning and seemingly clueless server. This one is especially chilling, and keeps you guessing up until the very end.

 

“Privilege”

by Joe Sutton

Directed by Jenny Smith

Chuck Brinkley, Spencer Sickmann
Photo by Patrick Huber
St. Louis Actors’ Studio

This play has a lot of ideas but probably needs some more work. The premise is compelling, as a young would-be lawyer, Peter (Spencer Sickmann), undergoes an unexpectedly aggressive line of questioning when applying for his law license. The unseen questioners are particularly interested in Peter’s family, including his uncle, Mark (Chuck Brinkley), to whom Peter turns for advice. His cousin, Amy (Carly Rosenbaum), another aspiring lawyer, who is the daughter of another of Peter’s uncles, experiences the same questioning, which turns out to relate to a violent incident from years before that involved Peter’s cousin (Amy’s brother), and that the family had done their best to cover up. Peter, for his part, doesn’t want to sweep it under the rug–he wants to find out what really happened, and to meet with the victim (Shane Signorino). There seems to be an element of symbolism here, concerning the family’s last name and some lines uttered by Mark and Amy, but the short nature of the play makes it difficult to cover the subject adequately. Still, the performances are compelling, especially from Sickmann as the determined Peter, and the use of lighting (by Patrick Huber and Tony Anselmo) is particularly effective.

 

“Kim Jong Rosemary”

by Carter W. Lewis

Directed by John Pierson

Eli Hurwitz, Jenny Smith
Photo by Patrick Huber
St. Louis Actors’ Studio

 

I had been especially anticipating this play, considering its author, Carter W. Lewis, is the writer of my overall favorite play from a LaBute Festival (2017’s “Percentage America”). This one, though, certainly has its moments, but it isn’t quite as cohesive and effective as the previous play. It has a fascinating premise, as mother and daughter Rhonda (Jenny Smith) and Beth (Eli Hurwitz) talk about issues relating to Rhonda’s anger, which is physically represented by a giant, overstuffed bag that she pushes around on a dolly. Colleen Backer makes a memorable appearance as an incarnation of the playwright, explaining the reasons for writing the play and acknowledging contributions to the anger of Rhonda and women in general. It’s an interesting character-piece, with talking points about gender roles and identity, societal expectations, and more, but it leans a little on the self-indulgent side this time. Still, there are great performances all around, and the dialogue is witty and provides food for thought on several timely topics.

Overall, I would say this set is more cohesive and themed than I’ve seen before from the Festival. It continues to be an excellent showcase for new plays and playwrights. I’m looking forward to seeing what’s in store for Set Two.

 

St. Louis Actors’ Studio is presenting Set One of the LaBute New Theater Festival at the Gaslight Theatre until July 14, followed by Set Two from July 19-28, 2019.

 

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The Revolutionists
by Lauren Gunderson
Directed by Trish Brown
Insight Theatre Company
June 29, 2019

Jenni Ryan, Kimmie Kidd, Laurie McConnell
Photo by John Lamb
Insight Theatre Company

Insight Theatre is continuing its latest season with a play by one of today’s most recognized playwrights. Lauren Gunderson’s plays have been performed by many theatre companies around the country, and in St. Louis lately, including Insight who last year was one of two local professional companies who presented Gunderson’s Silent Sky. This time, the featured show is The Revolutionists, a four-woman play that presents itself as a comedy, but has some striking dramatic twists.

The play, like other Gunderson plays I’ve seen, has a structure in which character interactions are crucial. There’s a plot, revolving around the French Revolution and specifically the Reign of Terror, and some prominent figures from that time, along with a fictional character who is something of a composite. The central figure is early feminist playwright Olympe de Gouges (Jenni Ryan), who as the play begins is struggling with how to continue her latest work-in-progress. As she struggles with style, story, dramatic form, and the purpose of her play, she comes into contact with other women who challenge her perspective. These women include determined assassin Charlotte Corday (Samantha Auch) and conflicted former Queen Marie Antoinette (Laurie McConnell), as well as Haitian activist Marianne Angelle, who is fighting to end slavery in her home country, which was then under French rule. The women share their stories and struggles with one another, encouraging Olympe to own up to her own convictions and not give into fear. Although the setting is specific, the situations and structure make the conflict more universal. It’s about France, but it also isn’t. Essentially, it’s about standing up for what one believes in, and about women making their voices heard. The interplay between the characters and witty, pointedly contemporary dialogue serve to make this show both compelling and relatable, with well-drawn characters and some fun “meta” moments thrown in along with some poignancy and an increasingly dramatic tone as the story plays out.

It’s a play essentially about the French Revolution, but it’s also “out of time” in important ways, such as language and the way in which the characters relate to one another, which is decidedly modern. It also has aspects that remind me of another Gunderson play, I and You, in some key ways that will become apparent to those who have seen both plays (although these stories are very different in other ways). The presentation of the show is unconventional, in a way, in that it’s especially minimalist, with a set by Leah McFall that consists entirely of a few period-specific furniture pieces that are used to set the tone and mood, but with the simplicity of the space highlighting the experimental tone of the play. It’s presented in the round, as well, which works especially well for the small-ish space at the Marcelle. Also of note are the costumes by Julian King, which are richly detailed and which help to emphasize the differences in situation between the characters. There’s also excellent use of lighting by Morgan Brennan that adds drama in some key scenes, and sound by Bob Schmit that provides essential context for the piece.

Even with its excellent technical aspects, the biggest asset of this production is its superb cast, led by Ryan in an impressively relatable turn as the show’s main viewpoint character, Olympe. In the midst of conflict and challenge, Ryan makes Olympe’s concerns and fears credible. She also shows strong chemistry with her castmates, who also give memorable performances. McConnell, as probably the best known character in the play, is especially strong, bringing a sense of real depth to a character who is portrayed as more complex than popular history has often painted her. It’s a winning portrayal. Kidd, as the idealistic Marianne, is also a strong presence, as is Auch in an intense portrayal as the single-minded Charlotte. It’s a impressive cast all-around, with excellent energy and rapport.

This is a play I didn’t know much about before seeing it, except for knowing a little about the history and having seen some of the playwright’s other plays. Overall, I think The Revolutionists holds up with Gunderson’s best work. It may not be the most detailed in terms of history, but I don’t think it’s trying to be. It’s more about the characters and the points they are making, which revolve around women maintaining the courage of their convictions. At Insight, it’s a dynamically staged, impeccably cast production that’s sure to provoke some compelling conversations. It’s definitely one to check out.

Jenni Ryan, Samantha Auch, Kimmie Kidd
Photo by John Lamb
Insight Theatre Company

Insight Theater Company is presenting The Revolutionists at the Marcelle Theatre until July 14, 2019

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1776
Music and Lyrics by Sherman Edwards, Book by Peter Stone
Directed by Rob Ruggiero
Choreographed by Enrique Brown
The Muny
June 27, 2019

Keith Hines, Adam Heller, Robert Petkoff
Photo: The Muny

The third show of the Muny’s 101st season, and the last before a brief break for 4th of July weekend, is, appropriately enough, the classic musical 1776. That seems like ideal timing for this show whose events lead up to the “original” 4th of July–the one the holiday commemorates. It’s a challenging show to do, considering how “talky” it is for a musical as well as the sheer strength of its book. For the most part, the Muny rises to that challenge. Although there were a few opening night “rough edges” to be smoothed out, this is a well-staged production with an excellent cast and superb, deceptively simple staging.

This musical is 50 years old this year, and it still seems as relevant as ever. It’s a unique show, being as book-focused as it is, and although it’s now often compared to the more recent Hamilton, 1776 is a show that stands on its own merits. In its own way, it set a precedent for a musical about the Founding Fathers that treats them not as saintly figures, but as flawed humans who had to make some serious compromises to achieve their goals. It shows how messy politics can be, highlighting hypocrisy in songs like “Molasses to Rum” as well as the devastating effects of war in the still stunning “Momma, Look Sharp”. Yes, there’s some levity here as well, but there’s also real gravity, and seeing it again, I’m surprised at how well it holds up. The story’s focus is on John Adams (Robert Petkoff), but features several figures, both prominent and not as well-known. Thomas Jefferson (Keith Hines) and Benjamin Franklin (Adam Heller) are key figures, as the bombastic Richard Henry Lee (Ryan Andes), the determined conservative John Dickinson (Ben Davis), the calculating South Carolinian Edward Rutledge (Bobby Conte Thornton), and more. It’s a mostly male cast, with only two women–Abigail Adams (Jenny Powers), who appears onstage in a representation of letters that she and her husband John write to one another; and Martha Jefferson (Ali Ewoldt), who appears briefly to visit her distracted husband and sing the memorable “He Plays the Violin”. Otherwise, there are a lot of men–from the members of the Continental Congress to congressional staff workers like secretary Charles Thomson (Gary Glasgow) and custodian Andrew McNair (Harry Bouvy), as well as a courier (Alex Prakken) who brings a series of ominous dispatches from the unseen General George Washington. Of course, we all know how the events turn out, but the suspense is there anyway, courtesy of book writer Peter Stone who has structured the show remarkably well.

In terms of casting, this production is impressive, with strong, energetic performances from the excellent cast that features a large number of local performers and Muny veterans. Petkoff as Adams strikes just the right notes of authority and belligerent determination, with a strong voice on songs like “Piddle, Twiddle, and Resolve” and the stirring “Is Anybody There?”  His chemistry with Powers’s excellent, smoothly sung Abigail, as well as with Hines and Heller as main allies Jefferson and Franklin is superb. There are also standout performances from Davis as the determined Dickinson, Heller as a delightfully witty Franklin, and George Abud in the small-ish but profoundly important role of Pennsylvania delegate James Wilson. Glasgow as Thomson, Conte Thornton as Rutledge, Joneal Joplin as Rhode Island’s rum-loving Stephen Hopkins, and Patrick Blindauer as Maryland’s Samuel Chase were also memorable. There are far too many cast members to mention them all, but despite a few inconsistent accents (mostly from those playing Southern characters) and occasional missed lines, this is an especially strong cast that I imagine will only get better as the show continues to run. Also, the show picks up steam about halfway through Act One and then maintains its momentum and energy until the end.

Technically, this production shines in its simplicity. Considering the significant improvements to the Muny’s stage and technical facilities for this season, I was a little concerned going in that there might be a temptation for this production the get too flashy or elaborate, and I’m glad to see that isn’t the case.  In fact, this production has used its new capabilities in a commendable way to present a straightforward staging while still showing off a marvelously detailed, elegant set by Luke Cantarella that makes excellent use of the Muny’s turntable, as well as featuring memorable video design by Greg Emetaz. There are also detailed, colorful period costumes by Alejo Vietti, as well as effective lighting by John Lasiter. The Muny Orchestra led by music director James Moore is also impressive, even though there are occasional moments where the music overpowers the singers.

1776 has been a favorite of mine since I discovered it as a teenager from seeing the film and then reading the script and listening to the Broadway cast album. This is the third production of the show I’ve seen on stage, and for the most part, it’s an excellent rendition. It’s another strong production for the Muny’s historic 101st season.

Cast of 1776
Photo: The Muny

The Muny is presenting 1776 in Forest Park until July 3, 2019

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Hedwig and the Angry Inch
Text by John Cameron Mitchell, Music and Lyrics by Stephen Trask
Directed by Jordan Woods
The Q Collective
June 22, 2019

Sarah Gene Dowling, Luke Steingruby
Photo: The Q Collective

It’s fun seeing a show you’ve seen before in a new light. The Q Collective’s small-scale, intimate staging of Hedwig and the Angry Inch at The Monacle is an ideal example of a new venue bringing an additional dimension to a show. The small nightclub setting, combined with excellent staging and an ideal cast makes for a thoroughly entertaining production.

The Q Collective is a newer theatre company that focuses on issues of gender and sexuality. Hedwig and the Angry Inch seems an ideal show for this company, with its exploration of gender identity among other issues. The title of the show has a double meaning for German-American rocker Hedwig (Luke Steingruby). “The Angry Inch” is the name of her band (keyboardist Holly Barber, guitarist J. Michael, bassist John Gerdes, and drummer Joe Winters) but it also refers to the result of a botched surgery that she explains as she tells her story, which details her life growing up as “Hansel” in Cold War East Germany, then meeting an American soldier and becoming “Hedwig”, and later getting involved with an insecure young man who eventually becomes rock star “Tommy Gnosis”. Her relationships with the men in her life, as well as her mother, and with her own identity, form the basis for the show, which is more of a concert than a play. Hedwig is joined onstage by her husband, Yitzhak (Sarah Gene Dowling), who used to have a drag act until he met Hedwig, who refuses to let him perform in drag, much to Yitzhak’s distress. The interplay between the two forms a lot of the drama of the show, in addition to Hedwig’s relationship with Tommy, who mostly appears in Hedwig’s stories and is heard shrouded in mist behind a door as he gives a concert nearby. The songs are rock-based, from more upbeat, driving songs like “Angry Inch” to slower power ballads like “Wicked Little Town”.

The setting at the Monacle brings a lot of realism to the performance. Although Hedwig is an over-the-top personality in many ways, this production brings her closer to the audience and makes her story even more personal and direct. The performances are especially strong, as well, with Steingruby delightfully theatrical as the enigmatic Hedwig. Dowling is also impressive as the longsuffering Yitzhak, who puts up with Hedwig’s moodiness and delivers powerful vocals as well. Steingruby shows off a smooth voice on songs like the memorable “Wig in a Box” and Wicked Little Town”, and Dowling shines as well both in backing vocals and singing lead on “The Long Grift”. The chemistry between the two is excellent, as well, as they portray a credible relationship arc on stage leading up to a dazzling finale.

Production-wise, this may be small scale, but the technical quality is first-rate. From the excellent band led by music director Holly Barber, to impressive lighting by Brian M. Ebbinghaus, to truly dazzling costume, wig, and makeup design by Lauren Smith, this production brings Hedwig’s world to life with remarkable detail. Hedwig and the Angry Inch from The Q Collective has the feel of an edgy indie-rock show in a small club. It’s bold, quirky and edgy, and entirely winning.

The Q Collective is presenting Hedwig and the Angry Inch at the Monacle until June 30, 2019

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Indecent
by Paula Vogel
Directed by Joanne Gordon
Max & Louie Productions
June 21, 2019

Cast of Indecent
Photo: Max & Louie Productions

Indecent is a play about a play. It’s a lot more than that, too, but in the new St. Louis premiere staging by Max & Louie Productions, the theatre arts are front and center. It’s a message play, certainly, with themes about censorship, artistic integrity, freedom of expression, and more. Ultimately, as currently staged at the Grandel Theatre, this new production is a triumph of lyrical staging and theatricality.

Indecent covers several decades in the creation of and controversy surrounding the staging of Polish Jewish playwright Sholem Asch’s play God of Vengeance, which was originally written, in Yiddish, in 1907. Controversial in some circles from the beginning for its portrayal of characters that some Jewish critics considered stereotypical, as well as its treatment of the Torah and lesbian themes including a prominent love scene, the play still became a big hit in Europe before being brought to Broadway, translated into English, in 1923, where it became the centerpiece for a scandal. Shortly after opening, the production was raided by police and the company arrested and subsequently tried for obscenity. While God of Vengeance itself isn’t shown in great detail in Indecent beyond two prominent scenes, the point being made seems to be more about what the play represents and the issues it raised, especially concerning freedom of expression and personal, national, and religious (particularly Jewish) identity, and how different forms of prejudice (antisemitism, xenophobia, homophobia, etc.) can be bound up together. The ominous gradual build-up to the atrocities of World War II and the Holocaust, and their aftermath, is also a prominent theme. In addition to these issues, though, the play is a celebration of form, told in the manner of a traveling Yiddish acting troupe and featuring musicians as part of the production, playing Klezmer-style music among other styles such as jazz when the show’s time frame “arrives” in the 1920s. The players (TJ Lancaster, Paul Cereghino, Zoe Farmingdale, John Flack, Katie Karel, Judi Mann, and Tim Schall) all play various characters in the course of the production, and the musicians (Alyssa Avery, Kris Pineda, and Jack Theiling) are involved in the story as well. This is actually a somewhat challenging play to describe, since it covers so much in terms of scope, theme, structure, and tone. There’s broad humor and poignant drama; lyrical poetry and music and occasional theatrical melodrama. Mostly, though, it’s a highly personal story focusing on the playwright Asch (Cereghino and later, Flack) and the troupe of players led by Asch’s friend, former tailor-turned-Stage Manager Lemml (Lancaster) and the trials, tribulations, and persistent hope of expression and understanding of Asch’s most controversial work. It’s about more than one play, though–it’s about art, expression, and humanity itself.

The casting is especially strong, with a impressive, cohesive ensemble and no weak links. Although everyone plays several roles, the players–with the exception of Lancaster as Lemml–are listed in the program by age group, with Cereghino and Farmingdale as the “ingenues”, Flack and Mann as the “Elders”, and Schall and Karel as the “Middle”. Standout roles and performances include Cereghino as the first idealistic and then increasingly disillusioned and haunted younger Asch; Lancaster as the determined Lemml; Farmingdale as the younger version of Asch’s wife Madje and also as the various actresses who play the young Rifkela in God of Vengeance; Karel as the various performers playing the worldly Manke in the play-within-the-play; and Flack and Mann as the older Asches. Everyone is excellent, though, including the musicians who are almost constantly onstage, joining in with the story.

Technically, this production is nothing short of dazzling. With a masterfully detailed, versatile set by Dunsi Dai, projections by Kevin Bowman, and truly stunning lighting by Patrick Huber that emphasizes shadows and contrasts, the mood, time, and place of the show are well maintained. There are also superb costumes and wigs by Teresa Doggett and excellent sound design by Phillip Evans and music direction by Ron McGowan. The sights, sounds, and effects of this play are remarkable, bringing the audience into the experience of the play in poetic style.

This is a show that got a lot of buzz when it was on Broadway, and with this production, I can see why. Whether you know much or anything about the source material (I didn’t), it doesn’t particularly matter because you will learn a lot simply by watching this play. There’s a lot here that’s still relevant in today’s day and age, as well as an important history lesson. Overall, the effect is bold, theatrical, and fascinating. The play may be called Indecent, but this production is more than simply “decent”. It’s a remarkable theatrical experience.

Paul Cereghino, Zoe Farmingdale
Photo: Max & Louie Productions

Max & Louie Productions is presenting Indecent at the Grandel Theatre until June 30, 2019

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Kinky Boots
Book by Harvey Fierstein, Music and Lyrics by Cyndi Lauper
Original Broadway Direction and Choreography by Jerry Mitchell
Direction Re-Created by DB Bonds
Choreography Re-Created by Rusty Mowery
The Muny
June 19, 2019

Cast of Kinky Boots
Photo: The Muny

The Muny’s 101st season continues this week with the regional premiere of the Tony-winning musical Kinky Boots. With a score by pop legend Cyndi Lauper and a book by celebrated playwright/actor Harvey Fierstein, this is a bold, energetic and fun show, with a lot of style and heart. And the Muny has brought a great cast and dazzling production values to the stage, to boot.

The story, based on a 2005 British film that was inspired by a true story, tells of a surprising friendship and an unusual business venture. When Charlie Price (Graham Scott Fleming) inherits his family’s shoe factory upon the death of his father, he feels inadequate to live up to his father’s standards and run the failing factory, until he meets drag queen Lola (J. Harrison Ghee), who also has a backstory and a complicated relationship with paternal expectations. The two go into business, with Charlie as manufacturer and Lola as designer, but there are still complications as the two prepare to showcase the new “kinky boots” at a prestigious fashion show in Milan. For Charlie, he has to deal with a legacy of perfectionism as well as his ambitious fiancee, Nicola (Caroline Bowman), who wants him to give up the factory and move to London with her. There’s also Lauren (Taylor Louderman), a factory employee who grows closer to Charlie as they work together. For Lola’s part, there’s the memory of a strict, unaccepting father as well as factory worker Don (Paul Whitty) who continually gives Lola a hard time. It’s a fun show with a catchy score, featuring some poignant ballads like “Not My Father’s Son”  as well as some energetic production numbers such as “Sex Is In the Heel”, “Everybody Say Yeah”, and the uplifting, spirited finale “Raise You Up/Just Be”.

The production here is essentially a re-creation of the Broadway production, with original direction and choreography re-created, and with some key leading roles played by performers who have played the roles before. The cast is excellent, with Ghee as Lola especially strong, both vocally and in sheer presence. Ghee works well with the also excellent Fleming, who puts in a sensitive performance as the conflicted Charlie. Louderman also turns in a winning performance as Lauren, even though the character isn’t given a lot to do at times, but still, Louderman excels especially belting out Lauren’s solo “The History of Wrong Guys” and has good chemistry with Fleming’s Charlie. Other standouts include Whitty as the belligerent Don, and John Scherer in a fun comic turn as Charlie’s assistant at the factory, George. Also worthy of special mention the “Angels” (Callan Bergmann, Ian Fitzgerald, Valton Jackson, Jacob Lacopo, Michael Olaribigbe, Kyle Post, Ricky Schroeder, and Joey Taranto), who back up Lola in her nightclub act, and who exhibit a delightfully flashy, enthusiastic style.

The production values here are simply stunning, utilizing the newly renovated Muny stage with utmost flair. Michael Schweikardt’s set is colorful and versatile, complemented well by Shawn Duan’s video design. The costumes by Gregg Barnes are especially dazzling, suiting the characters from factory workers to drag queens with stylish detail. There’s also excellent lighting by Nathan W. Scheuer and a great Muny Orchestra and music direction by Ryan Fielding Garrett.

Kinky Boots is, above all, a show with energy and heart. It portrays a growing friendship with poignancy and charm, as well as dealing with father/son relationships, romance, acceptance of differences, and more. It’s an upbeat and highly entertaining production from the Muny, and another remarkable success for a so-far stellar 101st season.

Cast of Kinky Boots
Photo: The Muny

The Muny is presenting Kinky Boots in Forest Park until June 25, 2019

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