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Archive for the ‘St Louis Theatre’ Category

Dreamgirls
Book and Lyrics by Tom Eyen, Music by Henry Krieger
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 4, 2019

Cast of Dreamgirls
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre has been producing more large-cast shows in their relatively small space at Tower Grove Abbey lately. Its current production, Dreamgirls, is the latest example. A well-known Broadway show that’s also been made into an acclaimed movie, this is a big, glitzy and glamorous musical that adapts very well to the smaller venue at SDT. Especially, it serves as a showcase for some standout performances and impressive production values.

The original Broadway Dreamgirls and the movie are well-known for their music and for the performances of two famous Jennifers–Holliday (on stage) and Hudson (on screen)–as central character Effie White, the original lead singer for a Supremes-like singing group. Here, Effie is played by the excellent Ebony Easter, as the show traces Effie’s and her group’s path from obscurity to stardom. The Dreamettes–who later become the Dreams–start out as a group of three friends entering a talent contest at New York’s Apollo Theatre. Effie, along with her friends Deena Jones (Eleanor Humphrey) and Lorrell Robinson (Tateonna Thompson) are young a naive at first, embarking on a tour supporting R&B star James “Thunder” Early (Omega Jones), but encouraged by Effie’s songwriter brother C.C. (Marshall Jennings) and their highly ambitious car-salesman-turned manager Curtis Taylor, Jr. (Abraham Shaw), they soon learn more about the reality of show business, with its joys, triumphs, disappointments, and heartbreak in their personal and performing lives, also dealing with inherent racism in the music industry as Early and the Dreams aim to cross over from R&B to pop. The show is a deliberate evocation of the Motown sound, being basically a fictionalized tale of the rise of Motown and the Supremes in particular, with a memorable score featuring many highlights, including the title song, “Steppin’ to the Bad Side”, “One Night Only” and  Effie’s show-stopping “(And I Am Telling You) I’m Not Going” and “I Am Changing”.

The staging at SDT is, for the most part, excellent, reflective the glitzy and occasionally glamorous world of show business in the 60s and 70s, but also showing the realities of life backstage and offstage. Josh Smith’s glittery, red-and-gold two-level set is striking, as are Julian King’s detailed era-specific costumes, reflecting the evolving styles of the eras in which the show takes place as well as the Dreams’ growth in maturity and sophistication. There’s also sparkling lighting by Tyler Duenow and energetic choreography by Mike Hodges, along with an excellent–if a little too small for the sound–band ably led by music director Jennifer Buchheit. The staging and pacing is good, for the most part, although there are occasionally some awkward scene transitions.

What especially stands out here is the excellent cast, and particularly the leading performances. Although the ensemble energy varies at times, there are some truly dynamic performances here, led by Easter who is in excellent voice as the determined Effie. Humphrey as rising-star Deena is also strong, and Thompson as Lorell is a particular standout. The always dynamic Jones puts in a dazzling performance as Early, as well.  Also notable are Jennings in a well-sung, highly likable performance as C.C. and Shaw in the difficult role as the highly ambitious but controlling and manipulative Curtis. The performance scenes especially are excellent, as an evocation of the 60s and 70s transitions between soul and R & B to pop, and eventually disco.

Dreamgirls is a fascinating show, with excellent songs and characters, and a real sense of history about it. At Stray Dog Theatre, this show is given a highly entertaining staging featuring some especially strong performances by an impressively talented cast. It’s a tuneful, poignant, and ultimately hopeful story. It’s another memorable musical from this theatre company.

Eleanor Humphrey, Marshall Jennings, Abraham Shaw, Tateonna Thompson, Omega Jones, Ebony Easter, Diamon Lester
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Dreamgirls at Tower Grove Abbey  until April 20, 2019

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Popcorn Falls
by James Hindman
Directed by Sarah Whitney
The Midnight Company
March 30, 2019

Popcorn Falls is the latest quirky, offbeat production from Joe Hanrahan’s Midnight Company. Hanrahan is well-known in St. Louis for his one-man shows, but he has also shared the stage with an array of excellent local performers. This time, Hanrahan and Shane Signorino team up with director Sarah Whitney to stage a hilariously energetic comedy of hopes, dreams, and a host of memorable characters.

As is usual for Midnight shows, the staging is minimal, with just a few furniture pieces and props, and that’s all that’s needed here, along with some occasional simple costume changes as the actors change from one character to another. The main figures in the story–set in the declining small town of Popcorn Falls–are new mayor Ted Trundle (Hanrahan), and janitor Joe (Signorino), who find themselves teaming up to save the town from power-hungry county executive Doyle (also Signorino) who aims to tear down Popcorn Falls and build a sewage treatment plant in its place. The ray of hope comes in the form of a financial grant that was awarded for the purpose of financing a theatre group in the town–but there isn’t one, so Mayor Trundle sets out to start one with the aim of putting on a play in order to receive the money and save the town, even after Doyle has given them the seemingly impossible deadline of one week in which to stage this production. Through the course of the show, we meet a varied cast of characters who are assembled to be part of this show, and we learn more about everyone as relationships grow, backstories are revealed, and the characters encounter a series of increasingly difficult obstacles in their efforts to save the town.

With this show, the story is fun, but it’s the performers who essentially are the show. Hanrahan and Signorino are both impressive in their energy and presence, bringing a host of characters to life, with Hanrahan’s hapless Trundle and Signorino’s regretful Joe being the anchors. Hanrahan is excellent as usual, and Signorino–who has the most characters to play–is equally impressive, introducing the audience to such different personalities as an imperious librarian, a moody teenage girl, a single mother and aspiring actress, the villainous Doyle, and more. The interplay between these actors and their characters, along with the clever staging to allow for the quick changes–including both performers playing the same character at different times when needed–adds to the comedy and flow of the production. The simple set by Chuck Winning and lights by Tony Anselmo work well to maintain the overall improvised feel of the production, supporting playwright James Hindman’s fast-moving script.

This is a simple, somewhat frantic production that gets its energy–and its heart–from its performers. It’s not a long show, but there’s a lot going on, with something of a twist to the ending that’s entirely fitting to the tone of the show. Ultimately, Popcorn Falls is a fun show.

The Midnight Company is presenting Popcorn Falls at the Kranzberg Arts Center until April 13, 2019

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Daddy Long Legs
Music and Lyrics by Paul Gordon, Book by John Caird
Based on the Novel by Jean Webster
Directed by Maggie Ryan

March 29, 2019

 

Terry Barber, Jennifer Theby-Quinn
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company’s latest production is something of a surprise, at least to me. I wasn’t very familiar with the source material before seeing this show, and the premise seemed somewhat problematic (even creepy) to my 21st Century eyes at first glance. Still, John Caird and Paul Goron’s musical version of Daddy Long Legs has been critically acclaimed in its London, New York, and regional runs, and the casting looked good. Now, upon seeing it, I’m pleased to report that not only is the production a sheer delight–it’s in the best musical production I’ve ever seen from this company.

Looking at the plot of this show through a 21st Century lense, the plot seems at least a little suspect. A young and rich, but socially awkward benefactor chooses an orphan girl to support and send to college, and (spoiler!) it eventually evolves into a love story. There are so many potential problems with this setup just looking at it like that, but one of the most admirable things about this show is that it doesn’t ignore or gloss over the potential problems–it directly addresses them and has the characters challenge and confront them, from power imbalances to dishonesty and misrepresentation and more. Ultimately, though, it’s a story of a surprising relationship that grows from entirely different intentions. It also helps that the orphaned Jerusha Abbott (Jennifer Theby-Quinn) is already 18 when the story begins. As she explains in song, she’s “The Oldest Orphan” at the place where she grew up, the John Grier Home, feeling as if she is stuck there by her circumstances and by societal expectations. Jesper Pendleton (Terry Barber) is a man from a prestigious family who has come into wealth at young age, and is a trustee for the orphanage. He’s financed other orphans’ college educations before as an act of charity, but only with boys until Jerusha, who has impressed him with an essay she has written. Initially, it’s all anonymous and mysterious, with Jerusha expected to write letters to the pseudonymous “Mr. John Smith” with no expectation of receiving a reply. She nicknames her benefactor “Daddy Long Legs” based on catching a glimpse of his tall figure walking away, and imagines him as an old man. As her letters grow more descriptive and animated, reflecting her strong and determined personality, Jesper is increasingly impressed, to the point where he feels compelled to meet her in person, and the story–and the relationship–grow more complex, and complicated, from there. I won’t give away too much, because that would spoil the fun of this surprising, richly characterized, and musically memorable character study that’s at times funny, thought-provoking, emotionally intense, thoughtful, and heartwarming. It’s well structured, and there’s never a dull moment.

The is a two-character show, and both performers are ideally cast in their roles. Jerusha carries most of the weight of the show. She appears to be the focus character for much of the story, and Theby-Quinn is truly impressive in the role, showing off her great acting range from delightfully snarky comic moments to poignant drama, as well as excellent vocals. Barber, as the initially more mysterious Jervis, does an excellent job of showing the character’s emotional growth, starting out as rather stuffy and remote, to displaying a real depth and vulnerability that reveals itself gradually as the story unfolds. He also has a glorious voice, particularly on his character’s personal epiphany moment with the song “Charity” in the second act. The chemistry between the performers is delightful, as well, also starting out believably awkward but then growing as the characters interact more. It’s a believable progression, and their voices blend together impressively, as well.

The staging is impressive, as well, with a meticulously detailed period set and striking lighting by Rob Lippert, and marvelously detailed costumes by Julian King. Jerusha’s outfits are particularly impressive, as she goes through various costume changes onstage for a variety of authentic early 1900’s looks. The only minor distraction is Barber’s somewhat obvious wig, but all other aspects of this production are stunning. There’s also excellent work from the small band led by music director Scott Schoonover.

This is a real must-see of a show. It’s a touching, tuneful, and impeccably staged production with two top-notch leading performances and a vividly realized portrayal of its time and place. It’s not only the best musical I’ve seen from Insight. It’s up there with 2014’s stunning Death of Salesman as one of their two best overall shows I’ve been able to attend there. Daddy Long Legs is truly marvelous production.

Terry Barber, Jennifer Theby-Quinn
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Daddy Long Legs at the Marcelle Theatre until April 14, 2019

 

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Time Stands Still
by Donald Margulies
Directed by Doug Finlayson
New Jewish Theatre
March 28, 2019

Ben Nordstrom, Wendy Greenwood
Photo by Phillip Hamer
New Jewish Theatre

New Jewish Theatre’s latest production is a look at relationships in several different aspects. Time Stands Still examines romantic relationships, as well as a people’s relationships with their work and their callings in life. It’s also an especially timely play in terms of its subject matter in various ways. On stage in St. Louis, NJT’s production is particularly compelling and impeccably cast.

The play and this production are notable for their realism. The first thing that stands out, even before the action begins, is John Stark’s detailed set that accurately represents a small but well-appointed Brooklyn loft. Playwright Donald Margulies is also meticulous in his script, with richly defined characters and vivid, emotional, and highly credible dialogue, tracking what seems to be about a year in the lives of the characters, who are both journalists. Sarah (Wendy Greenwood), a photographer, and her boyfriend, reporter James (Ben Nordstrom), live together in the loft, but they have apparently spent little time there recently as both had been on assignment in the Middle East, although James had come home earlier than Sarah. The play begins as Sarah, who was wounded in a bombing shortly after James left, returns home, and the two try to settle into a more “normal” life away from the dangers of war zones as Sarah recovers from her injury and James tries to finish several writing projects. They’re also struggling in various ways with how to resume–and define–their relationship following various traumatic events. Meanwhile, their friend and magazine editor Richard (Jerry Vogel) encourages them in documenting their experiences and also introduces his new, younger girlfriend Mandy (Eileen Engel), an event planner whose outlook on life is decidedly different from theirs.  The play deftly examines various themes–the dynamics of relationships and how career goals, life attitudes, and traumatic events can affect them, as well as artists’ and writers’ relationship with their art and also questions concerning covering troubling world events and whether or not that coverage makes a difference in public perception and encouraging activism and change. These seem like a lot of topics to cover in one play, but Margulies manages to do so in a seamless way while making the characters credible and relatable at the same time.

In terms of credibility, the performances are also essential even with the excellent script. Here, all four cast members are strong, with excellent emotional range from both Greenwood and Nordstrom, who display strong and throughly believable chemistry throughout all stages of their relationship. Vogel and Engel are also impressive, providing a striking contrast and an example for James and Sarah of what they could be if they so chose. The ensemble chemistry is strong and the energy is taut and palpable. It’s a truly impressive cast.

The technical aspects of the production, in addition to the set, are also strong. The excellent, evocative lighting by Michael Sullivan effectively portrays the change in seasons and passage of time, as well as setting the mood in various scenes. The costumes by Michele Siler are suitable and, as in keeping with the general tone of the play, realistic as well. The play is set in 2009, and there are some nice little touches like the small flat-screen TV that help to convey the sense of time and place.. There’s also crisp sound design by Zoe Sullivan.

Time Stands Still is an intense, thought-provoking play. It’s a highly emotional, vivid portrayal of characters who have been in intense situations and have differing reactions and life goals. On stage at New Jewish Theatre, it’s a memorable and compelling theatrical experience.

Wendy Greenwood, Jerry Vogel, Ben Nordstrom, Eileen Engel
Photo by Phillip Hamer
New Jewish Theatre

New Jewish Theatre is presenting Time Stands Still at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until April 14, 2019

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Waitress
Book by Jessie Nelson, Music and Lyrics by Sara Bareilles
Based on the Motion Picture Written by Adrienne Shelly
Directed by Diane Paulus
Choreographed by Lorin Latarro
The Fox Theatre
March 26, 2019

Christine Dwyer
Photo by Philicia Endelman
Waitress North American Tour

Waitress is the hit Broadway musical based on a cult-hit movie, and featuring lots and lots of pies. It’s one of those shows that might have you craving baked goods by the time the curtain goes down. It did for me, anyway. Still, there’s a lot more than pastries to commend this show, and this touring production currently on stage at the Fox. What’s front and center, beside the pies, is the excellent score and a top-notch leading performance, along with a strong supporting cast, even though the story itself has its problems.

With a catchy score by singer-songwriter Sara Bareilles, Waitress benefits from the name recognition of both Bareilles and the movie on which the show is based. I hadn’t seen the movie or the show before, so this touring production is my introduction, beyond knowing the basic plot and hearing one of the songs (the poignant “She Used to Be Mine”). The story follows Jenna (Christine Dwyer), who–as the title suggests–is a waitress at a small-town eatery called Joe’s Pie Diner. She’s more than a waitress, though, as she personally bakes the pies the establishment sells, as well as inventing the recipes. She works alongside fellow waitresses Becky (Maiesha McQueen) and Dawn (Ephie Aardema), supervised by the gruff cook Cal (Ryan G. Dunkin). She also waits on the diner’s eccentric owner, Joe (Richard Kline) every day, and goes home every night to her volatile, abusive husband Earl (Matt DeAngelis). The story begins when Jenna finds out she’s pregnant. She’s not thrilled with the news, but she resolves to make the most of it, making an OB/GYN appointment and meeting her new doctor, Dr. Pomatter (Steven Good), with whom she develops an initially awkward flirtation. And… that’s about as far as I can explain the plot without spoiling too much. What I will say, though, is that this show has its issues, not the least of which being problematic aspects of several of the relationships. The show is at its strongest when focusing on Jenna as an individual, and in her friendships with her fellow waitresses and with Joe, and Bareilles’s score is excellent, with several catchy songs that serve the story and the characters well. I just have some trouble liking some of the characters I think the show wants me to like (especially Dr. Pomatter), and some of the characters aren’t as well-drawn as they could be.

The real strength of this production is its central performance, and a few of the supporting performances. Dwyer is simply remarkable as Jenna, with a strong voice and excellent stage presence. She makes Jenna a relatable protagonist, and her pie-baking scenes involving flashbacks to her personal history are a particular highlight, as is her powerhouse performance of the show’s most well-known song, the aforementioned “She Used to Be Mine”. There’s also excellent support from McQueen as the snarky Becky and especially Aardema as the quirky, initially lonely Dawn, along with a standout performance from the energetic Jeremy Morse as Ogie, Dawn’s socially awkward suitor. Kline as the crotchety but secretly supportive Joe is also memorable, as is Dawn Bless as Nurse Norma, the nurse at Dr Pomatter’s practice. DeAngelis is a suitable villain as the obnoxious Earl, and there are also fine performances from Dunkin as Cal and Good as Dr. Pomatter, although I didn’t care about their characters as much as the show seems to want me to. There’s also a strong ensemble, supporting the leads well in the various production numbers.

Technically, this show impresses, with a versatile, eye-catching set by Scott Pask that smoothly transitions from the diner set to other locations as needed, and a stunning backdrop enhanced by Ken Billington’s excellent atmospheric lighting. The costumes by Suttirat Ann Larlarb are also striking, suiting the characters and the tone of the show especially well. Another memorable feature is that the band is onstage throughout the show, and they’re in excellent form, as conducted by music director and keyboardist Robert Cookman.

Waitress is, ultimately, an entertaining show, especially in terms of the score and the truly superb performance of Christine Dwyer as Jenna. Story-wise, it has its problematic elements, although for the most part–especially when it focuses on Jenna herself–it’s compelling. And of course, there’s pie– there were some “pies in a jar” on sale at intermission as a clever tie-in. It’s certainly crowd-pleaser, as well, and a thought-provoking conversation-starter. It’s worth checking out.

Steven Good, Christine Dwyer
Photo by Philicia Endelman
Waitress North American Tour

The North American tour of Waitress is playing at the Fox Theatre until April 7, 2019

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Nonsense and Beauty
by Scott C. Sickles
Directed by Seth Gordon
Repertory Theatre of St. Louis, Studio
March 17, 2019

Jeffrey Hayenga, Robbie Simpson
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Rep’s closing production for its 2018-2019 Studio season is a world premiere, which had a reading last year at the Rep’s Ignite! New Play Festival. Nonsense and Beauty is a poignant story that’s inspired by real events and people, most notably the 20th Century English author E.M. Forster (A Room With a View, Howards End, etc.). With simple, effective staging and an especially strong cast, this is a compelling, promising new play.

In first hearing about this play and what it’s about, I did a little bit of research of my own because while I had known that Forster was gay, I didn’t know about his long relationship with English police officer Bob Buckingham, which is the basis of this play. Here, playwright Scott C. Sickles tells the story of their relationship and their relationships to other important figures in their lives. In fact, the effect of the play makes it more of the story of a small group than of the one couple in particular, although that relationship is at the center. The story is also the story of a different time in history, in which gay relationships not only carried a social stigma, but were actually illegal in the United Kingdom. So, when Forster (Jeffrey Hayenga) is first introduced to young Bob (Robbie Simpson) by his friend, J.R. “Joe” Ackerley (John Feltch), there’s an air of secrecy about how they conduct their relationship, and the social and legal pressures on Bob as a police officer are also made apparent. Still, the relationship grows with a sense of sweet simplicity despite the societal pressures, until Bob meets May (Lori Vega), a vivacious young nurse with whom he begins a flirtation that eventually leads to marriage. Needless to say, this complicates the situation with Forster, called Morgan by his friends and Edward by his imperious mother, Lily (Donna Weinsting). For Morgan, Bob is the great love for which his has waited, but for Bob, the situation becomes especially complicated since he seems to genuinely love both Morgan and May, and almost despite himself, Morgan begins to admire May as well. Although Lily’s presence is an obvious influence on Morgan, the real drama and focus in this play is on the relationship dynamics between Morgan, Bob, May, and Joe. The story plays out over several decades, with an air of poignancy and sadness about it, although there are elements of hope as well.

It’s a well-constructed play, for the most part, although the first act seems slow at times and some characters are more developed than others, it’s ultimately a fascinating play, exploring the complexities of love and friendship in an extremely restrictive time and place. The direction is simple and effective, and the casting is especially strong, particularly of Hayenga, who shines as the sensitive, loyal and initially lonely Forster, and Feltch as the devoted, occasionally snarky Joe. Vega is also excellent as May, and Simpson gives a fine performance as Bob as well, displaying strong chemistry with both Hayenga and Vega. Weinsting makes a memorable impression in the small but significant role of Forster’s mother Lily, as well, although for the play itself, her character seems the most extraneous. It’s a strong, especially cohesive ensemble, making the most of Sickles’ thoughtful, literate script.

Technically, the show is simply staged in the round. The set, designed by Brian Sidney Bembridge, is sparse, consisting of a simple square performance area and some furniture as needed. Bembridge also designed the lighting, which is especially evocative and helps set the tone of the play well. There’s also excellent sound design by Rusty Wandall, and well-suited period costumes by Felia K. Davenport. Overall, the technical aspects support the mood and style of the piece and reflect its period setting well.

Nonsense and Beauty is a compelling new play, with a sense of time, place, and character that’s well-defined, although it could use a little bit more defining here and there. Ultimately, it’s an effective, evocative and highly personal focus on the life and relationships of an important literary figure who was a real person, not just a name to read about in English class. It’s an excellent production to close out the season at the Rep Studio, and it’s a highly promising new play.

Robbie Simpson, Jeffrey Hayenga, Lori Vega, John Feltch
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Nonsense and Beauty in its Studio Theatre until March 24, 2019

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La Cage aux Folles
Book by Harvey Fierstein, Music and Lyrics by Jerry Herman
Directed by Scott Miller and Mike Dowdy-Windsor
Choreographed by Michelle Sauer and Sarah Rae Womack
New Line Theatre
March 16, 2019

Zachary Allen Farmer, Robert Doyle
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre has staged another remarkable production with their rendition of the modern classic musical La Cage aux Folles. As often happens at New Line, this production distills the essence of the show and brings out its human drama, emphasizing character and relationships, along with the excellent singing that I’ve come to expect from this company. In addition, it’s also sparkly and dazzling, with a strong ensemble and a truly stunning performance from one of New Line’s most recognizable players.

This production is also my introduction to this show, in terms of seeing it live. I’d heard the score many times, and seen clips of televised performances of some of the songs, but I’d never seen a production of the show before until now. I did know the story, though. It focuses on performers in a drag show at a nightclub in Saint-Tropez, France. Georges (Robert Doyle) is the MC of the show, and his longtime partner Albin (Zachary Allen Farmer) is the star of the show, performing as “Zaza” and backed by Les Cagelles (Jake Blonstein, Dominic Dowdy-Windsor, Evan Fornachon, Tim Kaniecki, Clayton Humburg, and Ian McCreary). Offstage, Georges and Albin live in an apartment over the club, and are attended by the enthusiastic butler/maid Jacob (Tiélere Cheatem), who is also an aspiring drag performer who wants to be in the show. Georges has a son, Jean-Michel (Kevin Corpuz), whom Georges and Albin have raised together. Now, Jean-Michel has returned with announcement–he’s engaged, and his fiancée, Anne (Zora Vredeveld) is the daughter of a prominent ultra-conservative political candidate, and he’s invited her parents (Kent Coffel and Mara Bollini) to meet his parents, but with a twist that leads to much examination of relationships, identity, and the sense of belonging for Albin, Georges, Jean-Michel and eventually most of the cast. This version is based on the most recent London and Broadway revivals, with a smaller cast than the original Broadway production, but with the catchy, memorable Jerry Herman score intact, as well as Harvey Fierstein’s insightful book and the memorable lead characters.

Casting-wise, this production shines, and particularly as a showcase for one of New Line’s most prolific performers. Thinking of all the shows I’ve seen at New Line since the first one I saw (Next to Normal) in 2013, it’s easier for me to count the shows Zachary Allen Farmer hasn’t performed in than the ones in which he has appeared. Still, seeing him here as Albin/Zaza is something of a revelation. Farmer is always excellent, but he’s especially so here, bringing out a depth and richness to both his acting and his always remarkable vocals on songs like the title number and especially the fiery “I Am What I Am” and the catchy “The Best of Times”.  Also, as with the best of performers, he brings a sheer level of stage presence that not only lights up the stage, but energizes everyone around him. A particular beneficiary of this energizing is Doyle as Georges, who starts off slowly but gets better and better as the show goes along, especially in his scenes with Farmer. The two have a strong, believable chemistry that lends poignancy to their characters’ relationship as a couple, exemplified in Georges’s ballad “Song of the Sand” and its duet reprise. Also standing out is Cheatem is a delightfully scene-stealing performance as the stylishly determined Jacob. There’s also strong support from Lindsey Jones as Georges and Albin’s friend, the vivacious restaurateur Jacqueline, and by Corpuz, who gives a strong performance as Jean-Michel, who also has convincing chemistry with Vredeveld as the sweet but little-seen Anne. Coffel and Bollini are also memorable in dual roles as two very different couples–the supportive, friendly Renauds and the more severe Dindons. There’s also excellent support from Joel Hackbarth as the club’s stage manager Francis and memorable, energetic singing and dancing from les Cagelles.

Visually, this show is striking, with a bold, flashy and very pink set by Rob Lippert, who also designed the excellent lighting. Sarah Porter deserves special mention for her spectacular costumes, from the sparkling Cagelles outfits to Jacob’s memorable attire, to Albin/Zaza’s array of eye-ctaching ensembles, many of which have a mid-80s vibe. There’s also an excellent New Line Band conducted by Music Director and pianist Nicolas Valdez, and vibrant choreography by Michelle Sauer and Sara Rae Womack, performed with flair by the cast.

This is a show I’d heard a lot about, and I knew some of the songs well, but I hadn’t seen it on stage until New Line brought it to the stage with its usual insightful, inventive style. This is a fun show with a lot of flash, but it’s also a very human show, with poignancy and wit and charm. It’s another winning production from New Line.

Cast of La Cage Aux Folles
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting La Cage au Folles at the Marcelle Theatre until March 23, 2019

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