Archive for the ‘St Louis Theatre’ Category

“All Shook Up” at the Muny Entertains Despite Cluttered Plot

Posted in St Louis Theatre on July 19, 2017| Leave a Comment »

All Shook Up
Book by Joe DiPietro
Directed by Dan Knechtges
Choreographed by Jessica Hartman

Caroline Bowman, Tim Rogan
Photo: The Muny

All Shook Up is certainly a crowd-pleaser. A “jukebox” musical featuring many songs famously associated with Elvis Presley, this is the latest show in the Muny’s season. Inspired and rather loosely based on Shakespeare’s Twelfth Night, this production has a somewhat convoluted plot and entirely too many characters. Still, it’s an entertaining show, and its greatest strengths are its strong cast and energetic choreography.

This show, which had a short Broadway run, is being presented at the Muny for the first time this season. With its 1950s setting, Elvis music, and slightly Shakespeare-influenced plot, it does have some fun moments, including a basic premise and a few scenes that pay homage to classic Elvis films. Still, there’s a whole lot going on here and a few too many thinly drawn characters and implausible romantic plots. Basically, everyone seems to be falling in and out of love a lot over the course of one day, and sometimes it’s difficult to keep track of who is interested in who. The Elvis-like figure is the cool, charismatic Chad (Tim Rogan), newly released from jail, who rides into a small Midwestern town to get his motorcycle fixed and causes a stir. He attracts the attentions of young mechanic Natalie (Caroline Bowman), who is instantly smitten even though he ignores her, choosing to set his sights on local museum owner Miss Sandra (Felicia Finley), who does not welcome his attentions. There’s Dennis (Barrett Riggins), Natalie’s best friend, who harbors feelings for her that he is too nervous to confess. Also featured is Natalie’s widowed father Jim (Lara Teeter), who is also smitten with Miss Sandra, and Jim’s longtime friend Sylvia (Liz Mikel), a diner owner who has feelings for Jim. And that’s not all. There’s also the town’s conservative mayor, Matilda (Hollis Resnik), who has made strict rules against certain types of music, clothing and behavior, and who is out to drive Chad, who she sees as a bad influence, out of town and back to jail. And then there’s the mayor’s teenage son Dean (Paul Scwensen), who is newly returned from military school and who becomes instantly smitten with Sylvia’s daughter Lorraine (Ciara Alyse Harris), who likes him back. The plot involves a whole lot of “love at first sight”–mostly unrequited–which leads to a series of events including Natalie’s dressing up as a man and calling herself “Ed” as a way of getting closer to Chad, as well as Jim’s taking lessons from Chad in trying to look and act more cool, as well as the Mayor’s efforts to apprehend Chad, Dean and Lorraine trying to hide from both of their mothers, and much more. And of course, there’s lots and lots of Elvis music.

This show does have its fun moments, and the songs are used in clever ways in some scenes, such as the juxtaposition of “Teddy Bear” and “Hound Dog” when Chad is trying to woo Miss Sandra and she is trying to get rid of him. The Elvis music is fun, and it’s well sung by the cast, but there really is too much going on here, for the most part, and the characters don’t really have enough time for their relationships to develop believably. There are some strong performances, particularly by the excellent ensemble, performing choreographer Jessica Hartman’s high-energy dance numbers with style. The leads are strong as well, led by Bowman and Mikel who both have extremely strong voices that carry off the Elvis numbers well. Riggins is also a standout as Dennis, with particularly strong tenor vocals, and there’s a good supporting performance from Jerry Vogel as the mostly silent Sheriff Earl, who is bossed around by the Mayor until he finally has a reason to speak up. For the most part, this is an excellent cast, and they make the most of what they are given.

Technically, the show is impressive, mostly, except for a few sound mishaps on opening night that I imagine will have been fixed in later performances. There’s a bold, colorful set by Luke Cantarella that captures the 50s atmosphere, and the “Elvis movie” mood extremely well, with locations from Sylvia’s diner, to Jim and Natalie’s garage, to an old abandoned fairground. There are also some vibrant, versatile costumes by Leon Dobkowski and striking lighting by John Lasiter, as well as some goofy but fun videos designed by Greg Emetaz.

Overall, this is a fun, tuneful show, but without a whole lot of substance and way too many characters and subplots. The Shakespeare adaptation is extremely loose, as well. Still, the music is great, and the dancing is great, and there’s a great cast, and it’s worth seeing for those elements.

Cast of All Shook Up
Photo: The Muny

 

Read Full Post »

Magic Smoking Monkey Goes to the Movies, With Hilarious Results

Posted in Movies, St Louis Theatre, tagged , , , , , , , , , , on July 16, 2017| Leave a Comment »

AFI’s Top 100 Greatest American Films of All Time–A Parody
Written by Shualee Cook, Roger Erb, Chris Jones, and Ben Ritchie
Concept and Direction by Suki Peters
Magic Smoking Monkey Theatre
July 8, 2017

Ben Ritchie, Roger Erb
Photo: Magic Smoking Monkey Theatre

I’m really glad there’s a list in the program for this show, just so it was easier to keep track. In typical Magic Smoking Monkey fashion, the company’s latest production, AFI’s Top 100 Greatest American Films of All Time–A Parody is fast-moving and wildly inventive. It’s also extremely funny.

Here, the AFI’s list is taken and given the Magic Smoking Monkey treatment, as the energetic, enthusiastic cast races through the list in reverse order, from Ben-Hur to Citizen Kane, with a bell ringing to indicate the changing of films.  Some are given more time than others, and the presentations range from the literal the more symbolic. It’s a fun experience to watch, and with films as well-known as most of these are, it’s fairly easy to understand the scenes even when I haven’t seen all the films (I checked off the list–I’ve seen 54 of them). The pace is quick, and there are even occasional jokes about that ringing bell, and some crossover jokes between some of the movie parodies. It’s a lot of fun, as usual.

There’s a great cast here, too, making the most of every joke and creating some memorable impressions–figuratively and literally. One of the fun conceits this show uses is to have the same performers reappear when the same actors appear in several different films. Alyssa Ward as Katharine Hepburn and Brennan Eller as Jimmy Stewart are special standouts, but the whole cast is great. Kudos to Rachel Bailey, Roger Erb, Chris Jones, Ben Ritchie, Fox Smith, and Ron Strawbridge for their versatile takes on a variety of film characters. There are also special appearances by Nate Cummings and Morgan Maul-Smith.

The creative team has done a great job as well, with great costumes by Carla Landis Evans, lighting by Justin Chaipet, sound design by Ted Drury, and slides by Dan Foster. It’s all kind of unpolished, but that’s part of the charm of these shows. Also, with the quick pacing, anything can happen, and that element of surprise lends a lot to the humor.

This show is great fun for film buffs and casual filmgoers alike. It’s an uproarious blend of movies and theatre, as well. With Magic Smoking Monkey’s usual wit, style, and goofy charm, this parody is an ideal comic tribute to classic American Film

Alyssa Ward
Photo: Magic Smoking Monkey Theatre

Magic Smoking Monkey Theatre presents AFI’s Top 100 Greatest Films of Al Time–A Parody, until July 7, 2015.

Read Full Post »

Strong Performances Distinguish “On Golden Pond” at Insight

Posted in St Louis Theatre, tagged , , , , , on July 13, 2017| Leave a Comment »

On Golden Pond
by Ernest Thompson
Directed by Trish Brown
Insight Theatre Company
July 7, 2017

Susie Wall, Joneal Joplin
Photo by John Lamb
Insight Theatre Company

On Golden Pond is a play that’s perhaps best known by its film adaptation, starring movie legends Henry Fonda and Katharine Hepburn. The play itself has been seen as a showcase for distinguished peformers, and Insight’s latest production is a prime example, featuring a cast of excellent and award-winning local performers, and particularly in its two lead roles, played by the talented and prolific Joneal Joplin and Susie Wall.

This is a play that’s more character-driven than story-driven. The story is fairly slight, in fact. It’s a look at a long-married couple spending the summer at their lake house in Maine, like they have for the previous 47 years. Norman Thayer, Jr. (Joplin) is a retired university English professor, and he’s become increasingly curmudgeonly as he approaches his 80th birthday. His more optimistic wife, Ethel (Wall), grows weary of Norman’s constant talk about death and his strained relationship with their middle-aged daughter, Chelsea (Jenni Ryan), who has come to visit for Norman’s birthday with her new boyfriend, dentist Bill (Eric Dean White) and his 15-year-old son Billy (Michael Pierce) in tow. The “story” here is about the relationships, and how Norman and Ethel come to terms with aging and with the reality of the idea that each new summer at Golden Pond may be their last. It explores themes of aging, regret, broken and reconciling relationships, inter-generational friendships, and more while providing an excellent showcase for the actors involved.

And “the actors involved” are remarkable. Joplin, one of St. Louis theatre’s most prolific actors for the past few decades, has an ideal role here with Norman. Despite the more unsavory aspects of the character–his negativity and particularly his casual bigotry–Joplin’s considerable skill as an actor brings out the sympathy in Norman’s situation, and particularly in his relationships with Ethel, Chelsea, and Billy. Wall matches Joplin in every way as well in a formidable portrayal of the insistently, persistently optimistic Ethel, and their chemistry is heartwarmingly credible. There are also strong performances from the supporting cast–Ryan as the wounded but hopeful Chelsea, Pierce as the initially moody Billy–who bonds with Norman over fishing–White in the small role of the loyal new boyfriend Bill, and also from Kurt Knoedelseder as the sweet, slightly goofy local mailman Charlie, who grew up in the area and knows the family well.

The setting is well-realized, with Matt Stuckel’s detailed set bringing the rustic summer home to life with meticulous authenticity. The digital screen serving as the picture window overlooking the lake provides a nice atmospheric touch, and Robin Weatherall’s sound design contributes to the overall effect as well, as does Geordy Van Es’s lighting. My only small quibble is that the script, written in the late 1970s, doesn’t always lend well to the updating of the setting to the present day, as this production has done. Some of the dialogue and situations make more sense with the earlier setting.

There’s drama and a good amount of humor in On Golden Pond, with its somewhat talky story and with those richly portrayed characters, with the lake house itself becoming a prominent character as well. There isn’t a lot in terms of action, but at its best, it’s a moving look at aging, youth, family, and the power of memory and hope. The heart of the show, however, is the relationship between Norman and Ethel, which is touchingly portrayed here by two superb veteran St. Louis performers.

Jenni Ryan, Susie Wall
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting On Golden Pond at the .Zack Theatre until July 23, 2017.

Read Full Post »

The Muny’s Fun “Forum” Makes the Most of A Last-Minute Cast Change

Posted in St Louis Theatre, tagged , , , , , , , , on July 9, 2017| Leave a Comment »

A Funny Thing Happened On the Way to the Forum
Book by Burt Shevelove and Larry Gelbart, Music and Lyrics by Stephen Sondheim
Directed by Gary Griffin
Choreographed by Alex Sanchez
The Muny
July 5, 2017

John Tartaglia, Mark Linn-Baker, Jeffrey Shecter
Photo: The Muny

 

According to the notes in the program, A Funny Thing Happened On the Way to the Forum in its original pre-Broadway run was saved by a last-minute song change, as composer/lyricist Stephen Sondheim added “Comedy Tonight” as the opening number and the show became a hit. Well, another last-minute change has occurred for the Muny’s latest production, as billed star Peter Scolari unfortunately had to drop out due to illness, and Jeffrey Schecter, who winningly portrayed Scuttle in the Muny’s last production, The Little Mermaid, was called in four days before opening to take over the role of Pseudolus. Executive producer Mike Isaacason made an appearance before the opening night show to announce the change, and to let the audience know that Schecter would be performing with script in hand.  Still, despite the short rehearsal time, Schecter’s performance is a resounding success, anchoring a production that’s full of wit, energy, and old-school humor.

Based on several comedies by the ancient Roman playwright Plautus, Forum is framed as a theatrical repertory performance, introduced by Prologus (Schecter), who will play Pseudolus in tonight’s comedy. Pseudolus is a slave in the house of the wealthy Roman Senex (Mark Linn-Baker), who is about to go out of town with his overbearing wife Domina (E. Faye Butler), leaving his son Hero (Marrick Smith) in the charge of Pseudolus and chief slave Hysterium (John Tartaglia), who aren’t yet aware that the wide-eyed young man has fallen in love with a young woman he’s only seen but never met. This young woman is Philia (Ali Ewoldt), a new arrival at the house of Lycus (Jason Kravits), who keeps courtesans and has sold the virginal Philia sight unseen to a vainglorious military captain, Miles Gloriosus (Nathaniel Hackmann), who is due to arrive any day to claim his bride. There’s also Erronius (Whit Reichert), another neighbor, who is still searching for his long lost children, who were abducted years previously by pirates. Meanwhile Pseudolus seeks to obtain his freedom by helping Hero, but as this is a farce, nothing runs smoothly, with many comic mishaps and misunderstandings happening along the way to the show’s promised “happy ending”.

This is a funny, funny show, with a lot of wild, bawdy, and slapstick humor, and yes, some dated elements and some predictable plot points, but it’s a lot of fun, especially here with this energetic, enthusiastic cast. Schecter has had a difficult job filling in at the last minute in such a prominent role, but he shines, with excellent comic timing, smooth dance skills, and winning stage presence. He even manages to incorporate the script into a few jokes and visual gags. He also manages great chemistry with his co-stars with such little rehearsal time, which is remarkable, and his song-and-dance number “Everybody Ought to Have a Maid” with the equally excellent Tartaglia, Linn-Baker, and Kravits is a comic highlight.  Tartaglia especially seems to be reveling in his part as the excitable Hysterium, giving a stand-out performance. There are also strong turns from Hackmann as the haughty, full-of-himself Miles Gloriosus, who has come to claim his bride but would probably marry himself if he could; and by Reichert as the determined, goofily earnest Erronius. As the thwarted young lovers Hero and Philia, Smith and Ewoldt are excellent, as well, with Ewoldt especially funny and in great voice. There’s also a trio of Proteans–Marcus Choi, Justin Keyes, and Tommy Scrivens–who play a number of roles throughout the production and bring a lot of laughs in the process; and six elaborately costumed courtesans (Khori Michelle Petinaud, Katelyn Prominksi, Emily Hsu, Lainie Sakakura, Justina Aveyard, and Molly Callinan) who also contribute to the humor and energy of the show.

This isn’t as big a cast as is usually seen at the Muny, but they fill the stage well, as does the colorful, evocative set by Tim Mackabee, representing the three prominent houses and providing an ideal setting for the action. There are also vibrant costumes by Mara Blumenfeld, wigs by John Metzner, and lighting by Rob Denton,  contributing to the Roman atmosphere as well as the slapstick tone. The staging is brisk and sprightly, with some energetic choreography by Alex Sanchez adding to the overall madcap atmosphere.

This is a funny show. The title doesn’t lie. It’s a kind of show that brings in a lot of old-style comic elements, with some memorable Sondheim songs and a great cast. Kudos again to Jeffrey Schecter for giving such a strong, assured performance on such short notice. I’m sure his portrayal will get even stronger as the show goes on. It’s another excellent production from the Muny.

Cast of A Funny Thing Happened on the Way to the Forum
Photo: The Muny

The Muny is presenting A Funny Thing Happened On the Way to the Forum in Forest Park until July 11, 2017.

Read Full Post »

“Lieutenant of Inishmore” Is a Disturbingly Funny Debut From Theatre Macabre

Posted in St Louis Theatre, tagged , , , , , , on June 27, 2017| Leave a Comment »

The Lieutenant of Inishmore
by Martin McDonagh
Directed by Nick Kelly
Theatre Macabre, presented by Theatre Lab
June 23, 2017

Cast of The Lieutenant of Inishmore
Photo by Holden Ginn
Theatre Macabre

Theatre Macabre is a new theatre company in St. Louis focusing on horror, dark comedy, and other plays with a darker atmosphere. Their first production, presented in conjunction with Theatre Lab, is Martin McDonagh’s creepy comedy The Lieutenant of Inishmore. The play isn’t running anymore, as I was out of town its first week and had to catch a performance in its last weekend. While it certainly is not for all tastes, it’s a well-staged production, and if there was still time to see it, I would recommend it for the theatre patron who has a strong stomach and a penchant for a more twisted, dark-edged type of comedy.

This story, ultimately, hinges around a cat, and characters who are extremely attached to their pets. Padraic (Charlie Barron) is the prime example. He’s a lieutenant for the INLA (a splinter group from the IRA), and he’s a brutal guy, referred to as “Mad Padraic” by his colleagues and even his relatives, like his father, Donny (Chuck Brinkley). But he still loves his cat, Wee Thomas. When young neighbor Davey (Mark Saunders) discovers a dead cat while riding his bike, he brings it to Donny, who accuses Davey of running over Wee Thomas himself, which Davey denies. Then Donny decides to tell Padraic that his cat is ill, hoping it will soften the blow when he later tells him that Wee Thomas is dead. Interrupted by Donny’s phone call in the middle of torturing a drug dealer, James (Jackson Harned), Padraic immediately breaks down and decides he has to go home to be with his beloved cat. Also involved in the story are Padraic’s colleagues, Christy (Chuck Winning), Brendan (Brock Russell), and Joey (Jake Blonstein), who have their own reasons for wanting Padraic to come home. There’s also Davey’s belligerent, zealous rifle-toting sister Mairead (Larissa White), who loves Padraic and his cause, as well as her own cat Sir Roger.

That’s really all I can explain of the plot without spoiling too much. This is a fast-paced, increasingly brutal and disturbing comedy that doesn’t pull any punches, and again, is not for the squeamish. Still, even though I would usually count myself as one who would normally be grossed out by a lot of the subject matter here, the emphasis in this production is more on the comedy, and the absurdity of the situations to the point where the more gruesome aspects are somewhat easier to take, at least for me.. It’s a well-staged production, with the emphasis on the broad portrayals of its characters, led by a dynamic performance by Barron as the violent but devoted cat owner, Padraic, and also by the strong comic turns by Saunders and Brinkley as the bumbling Davey and Donny. White is also memorable as the brash, confrontational Mairead. Winning, Russell, and Blonstein make a hilariously inept trio as well, and Harned also makes a good impression playing the small role of James.  The ensemble chemistry and comic timing is excellent here, and even as increasingly absurd as the story gets, the characterizations and pacing keep it interesting.

The production values here are striking, as well. Erik Kuhn’s simple but detailed set provides a good backdrop for the action, and there’s also great work from lighting designers and Tony Anselmo and Kevin Bowman, and by effects designer Valleri Dillard. Costume designer Sarah Porter has outfitted the cast with appropriate flair, and kudos also go to dialect coach Teresa Doggett for helping the cast members achieve and maintain credible Irish accents.

This is a wild, quickly paced, increasingly macabre play, appropriate for the name of the company producing it. It’s not for everyone, as I’ve already mentioned, but if dark, gruesome comedy is something you like, this is a good example. Although this production has now closed, it has left a memorable impression. I’m curious to see what’s next for Theatre Macabre.

Larissa White, Charlie Barron
Photo by Holden Ginn
Theatre Macabre

Read Full Post »

Silhouettes’ “Ordinary Days” is a Small Show with a Big Heart

Posted in St Louis Theatre, tagged , , , , , on June 24, 2017| Leave a Comment »

Ordinary Days
Music and Lyrics by Adam Gwon
Directed by Samantha Stavely
Silhouettes Production Company
June 22, 2017

Clayton Humburg, Grace Minnis, Emily Scott, Gabriel Beckerle
Photo: Silhouettes Production Company

New York is a big city. To many people, it’s THE big city–the iconic representation of what a large, bustling American city is about, full of people with hopes and dreams big and small. NYC is the setting for the four-person, mostly sung-through musical Ordinary Days, which tells the story of four New Yorkers whose lives intersect in somewhat surprising ways. It’s a one-act musical and not very long, but it’s full of energy and a bright, tuneful score. Presented by Silhouettes Production Company at the Chapel, this show features a promising young cast that emphasizes the sincerity and optimism of the piece.

The story follows four people, only two of whom actually know each other at the beginning of the show. Jason (Clayton Humburg) and Claire (Grace Minnie) are a young couple who have been seeing each other for a while and have just decided to move in together, and Jason is excited, although Claire has some secrets she’s not yet ready to share. Meanwhile, the idealistic Warren (Gabriel Beckerle) is house-sitting for a controversial artist and papering the town with flyers quoting the artist’s work, and exasperated grad student Deb (Emily Scott) loses a notebook containing important information for her thesis, and Warren finds it, eventually leading to an unlikely friendship. The story occasionally takes the characters to the same place at the same time, such as when all four take a memorable journey to the Metropolitan Museum of Art, but their paths don’t directly cross until near the end of the play. In the meantime, Jason and Claire navigate a difficult stage of their relationship, and Warren and Deb contemplate the purpose of their lives.  It’s a somewhat slight plot, but the focus is on these characters and their interactions, with moments of humor and drama woven into the story punctuated by Adam Gwon’s memorable score.

This production is simply staged, with an evocative two-level set by Emily Rice that suggests the brick buildings and fire escapes of New York backed by a silhouetted skyline. The characters are appropriately outfitted by costume coordinator Katie Melin, and the action is illuminated well by lighting designer Nick Cook. The staging is brisk and energetic, with strong characterizations and excellent vocals by an energetic young cast, with Scott as the stressed-out Deb and Beckerle as the exhaustingly optimistic Warren as real stand-outs. Beckerle’s voice in particular is strong and clear from his first number, the show-opening “One by One by One”. There’s a great combative chemistry between these two as well. Humburg and Minnis are also excellent as Jason and Claire, bringing a believable emotion to their story, although Minnis reads as slightly young for the backstory that is revealed for Claire. Still, they make a convincing couple, and Humburg brings an endearing determination to his role as well. There’s good singing all around, well supported by accompanist Ellie Bode on piano.

This is an encouraging show. It’s a refreshingly sincere, character-driven story that also succeeds in making its setting a character in itself.  This is the second production of this show I have seen (after seeing it a few years ago in London), and it’s a good one.  It’s a vibrant show with a lot of heart, from a production company with which I hadn’t been familiar before, and I’m impressed.  It’s an excellent effort, and well worth seeing.

Silhouettes Production Company is presenting Ordinary Days a the Chapel until June 24, 2017.

 

Read Full Post »

Vibrant “Little Mermaid” Makes a Splash at the Muny

Posted in St Louis Theatre, tagged , , , , , , , , , , on June 24, 2017| Leave a Comment »

The Little Mermaid
Music by Alan Menken, Lyrics by Howard Ashman and Glenn Slater
Book by Doug Wright
Directed by Marcia Milgrom Dodge
Choreographed by Josh Waldren
The Muny
June 20, 2017

Kevin Zak, Will Porter, Emma Degerstedt, Emily Skinner
Photo: The Muny

This isn’t opening week at the Muny, but it is for me. Unfortunately, I was out of town and unable to attend the first performance of the 2017 Muny season, Jesus Christ Superstar. That is especially sad because I heard it was an excellent production. Still, for me, the first Muny show of the year is the season’s second production, Disney’s The Little Mermaid. This is the second production of this adaptation of the popular animated film that the Muny has done, and I remember enjoying the last one but that was in the “old Muny” era so I’m not sure if a direct comparison is really possible. What I can say is that this version is visually stunning and extremely well cast, making for an entertaining evening of theatre in Forest Park.

The story is familiar to anyone who has seen the film, although it has been altered slightly for the stage, and additional songs have been added. The mermaid of the title is Ariel (Emma Degerstedt), the golden-voiced youngest daughter of King Triton (Jerry Dixon), who rules the undersea realm but has trouble understanding his youngest child. Ariel herself is obsessed with the world of humans, often journeying to the surface of the sea and collecting trinkets and keepsakes of the world beyond the ocean. She eventually encounters the human Prince Eric (Jason Gotay), who isn’t happy with his life as a prince and longs for a life at sea. When Eric is shipwrecked and Ariel saves him, Ariel’s fascination with humans turns into love for this particular human, and that’s where the Sea Witch Ursula (Emily Skinner) becomes involved. Striking a deal with Ursula that will give her legs in exchange for her voice, Ariel must get Eric to kiss her within three days or else she forfeits her soul to Ursula. With the help of her friends Sebastian the crab (James T. Lane), Flounder the fish (Spencer Jones), and Scuttle the seagull (Jeffrey Schecter), Ariel sets out to achieve her goal while Eric’s guardian Grimsby (Richard B. Watson) suggests a singing contest to find the girl with the beautiful voice who rescued Eric, and whom the prince–who is expected to marry by his 21st birthday–is determined to find and hopes to wed.

The structure of the show is similar to the film, but has been expanded for the stage, and some plot details altered to better fit the stage format. For the most part, this story works, although I still question the inclusion of the song “Les Poissons”, since it makes little sense on stage even though Frank Vlastnik as Chef Louis performs it well and with lots of energy. The ending, especially Ursula’s fate, also isn’t as dramatically satisfying as the film version, although I do like that the development of Ariel and Eric’s relationship is given a little more focus. Still, this is a vibrant, energetic show with a lot of great songs including (and especially) the film classics like “Part of Your World”, “Under the Sea”, “Poor Unfortunate Souls”, and “Kiss the Girl”, and the Muny has brought the show to life with style and stunning visual effects, with a colorful, versatile set by Michael Schweikart, excellent costumes by Robin L. McGee such as the truly magnificent Ursula costume for Skinner and the ensemble members who play her tentacles. There’s also excellent lighting by Nathan W. Scheuer, video design by Matthew Young that augments the scenery well, and some truly clever puppets designed by Puppet Kitchen Productions, inc. The undersea world, as well as the dry-land world of Eric’s court, are well represented here on the giant Muny stage.

There’s a great cast here, as well, led by Degerstedt’s determined, wide-eyed, clear-voiced performance as Ariel. Her chemistry with Gotay’s smooth-voiced, earnest Prince Eric is strong, and their scenes together are a highlight of this production. Skinner makes the most of the villain role as Ursula, reveling in her evil schemes and commanding the stage on her featured number, “Poor Unfortunate Souls”. She’s supported well by the gleefully oily characterizations of her henchmen, electric eels Flotsam and Jetsam, by Kevin Zak and Will Porter. There are also strong performances from the young Jones as Ariel’s devoted friend Flounder, and Schecter as the wisecracking, overconfident seagull Scutttle, who leads a group of other gulls in a memorable tap-dance number, “Positoovity”. Lane, as Ariel’s friend and reluctant guardian Sebastian, has some excellent moments leading the iconic songs “Under the Sea” and “Kiss the Girl”. The leads are supported by a strong, vividly outfitted ensemble playing everything from an array of undersea creatures to palace guards and princesses.

The Little Mermaid is not the best of Disney’s stage musicals, but it is fun and it has it’s memorable moments.  At the Muny this time around, it’s especially striking in a visual sense. This production is essentially what audiences would want it to be–a big, bright, energetic musical that fills the Muny stage well and entertains viewers of all ages.

Emma Degerstedt, Jason Gotay
Photo: The Muny

The Muny is presenting Disney’s The Little Mermaid in Forest Park until June 29, 2017.

Read Full Post »

An Insightful “Next to Normal” at Insight

Posted in St Louis Theatre, tagged , , , , , , on June 16, 2017| Leave a Comment »

Next to Normal
Book and Lyrics by Brian Yorkey, Music by Tom Kitt
Directed by Edward Coffield
Insight Theatre Company
June 9, 2017

Insight17NormalPrint04E

John Flack, Debby Lennon, Spencer Davis Milford Photo by John Lamb Insight Theatre Company

Insight Theatre Company is opening its 10th season in a new venue, and starting off with a highly regarded, Pulitzer Prize-winning musical, Next to Normal. This small-cast show is an ideal fit for the .Zack in Grand Center. It’s a challenging, highly emotional show with a demanding score, and Insight has assembled an excellent cast, presenting the show in a somewhat different manner than I have seen before, and it works very well.

When I first heard of the casting for this production, I was expecting it to be good, especially since the lead role of Diana Goodman would be played by last year’s St. Louis Theater Circle Award winner for Best Actress in a Musical, Debby Lennon. And Lennon isn’t the only seasoned performer in this excellent cast. John Flack as Diana’s husband Dan, Ryan Scott Foizey as the doctors, and Spencer Davis Milford, as the Goodmans’ son Gabe have all done some excellent work in St. Louis theatre. They are joined by extremely promising newcomers Libby Jasper as the Goodmans’ conflicted teenage daughter Natalie, and Max Bahneman as Natalie’s on-again/off-again boyfriend Henry. It’s a story that focuses largely on Diana’s experiences with trying to manage her mental illness and her complicated family relationships, and also on Natalie’s struggle to deal with her own issues involving her family and her future plans. There isn’t a whole lot else I can say without spoiling too much, because this is a show that depends a lot on twists and revelations, although the central family relationships are at its core, with a strong musical score that ranges from more upbeat rock-based numbers to slower, emotional ballads. It’s a challenging work, and when staged well as it is here, it’s riveting.

This production is a little different than others I’ve seen, in terms of staging and vocals. Staging-wise, the pacing is a little slower than previous productions, with some of the line-deliveries being a little more subdued. The plot build-up seems to be more gradual as a result, and despite a slow-ish start on “Just Another Day”, the performances are excellent and well-timed. The set, designed by Robbie Ashurst, and the lighting by Charlotte Webster are more colorful as well, with an emphasis on a series of windows of varied hues hanging in the background, and aside from one slightly raised platform, most of the action takes place at stage level, also contrary to other performances I’ve seen. The costumes by Laura Hanson are appropriate and well-suited to the characters, and there’s also excellent musical direction by Ron McGowan, with a slightly different sound reflective of Lennon’s more operatic voice.

The cast is excellent, led by Lennon in a sympathetic, emotional performance as Diana, with powerful vocals on songs like “I Missed the Mountains”, “I Dreamed a Dance”, and “You Don’t Know”. Flack is also excellent as Diana’s supportive but increasingly exasperated husband, Dan. His scenes with Lennon carry a lot of power, and he brings a great deal of emotional energy to his songs, especially “I’ve Been” late in Act 1. There are also strong performances from the rich-voiced Jasper as the determined but conflicted Natalie, and by Bahneman as her sweet, persistent stoner boyfriend Henry. Milford is outstanding and full of energy as the dynamic, influential and mysterious Gabe as well, excelling especially on Gabe’s most well-known number “I’m Alive”. There’s also excellent work from Foizey as the two doctors, particularly the “rock star” Doctor Madden, although he does sound a little strained at times.

Next to Normal is a powerful, challenging show. It’s a character study as well as a story of relationships, and strong casting and musicality are essential. Those aspects are well represented in this memorable production from Insight Theatre. Although it takes a few minutes to really get going, once it does it’s engaging, fascinating, and highly affecting. It gets Insight’s new season in its new home off to an excellent start.

Ryan Scott Foizey, Spencer Davis Milford, Debby Lennon
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Next to Normal at the .Zack Theatre until June 25, 2017.

Read Full Post »

“Monsters” Is a Promising New Show at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , on June 9, 2017| Leave a Comment »

Monsters
by Stephen Peirick
Directed by Gary F. Bell
Stray Dog Theatre
June 8, 2017

Kevin O’Brien, Jeremy Goldmeier, Sarajane Alverson
Photo by John Lamb
Stray Dog Theatre

The latest production in Stray Dog Theatre’s 2016-2017 season is a new play by local playwright and actor Stephen Peirick. Monsters is billed as a “comedy thriller”, and it certainly provides elements of both of those genres even though the “comedy” element is more prominent, at least for most of the play. With a talented, enthusiastic cast and some sharp humor and good pacing, this is a promising show, even though it does have a few issues that could be addressed.

Monsters doesn’t feature any literal monsters. The title is more metaphorical, examining the idea that seemingly good human beings can be capable of monstrous acts and attitudes. The situation is essentially a version of the “bumbling unlikely criminals” idea, with “manchild” brothers Jeremy (Kevin O’Brien) and Davis (Jeremy Goldmeier) planning a scheme for personal reasons that they won’t initially share with Davis’s wife, Andi (Sarajane Alverson), who happens across Jeremy in her basement accompanied by a strange man, who Jeremy introduces as Carl (Michael A. Wells), whom Jeremy has put in a difficult situation. The story of what exactly is happening takes a while to be told, as the nervous Jeremy is hesitant to disclose his secret. But Andi has secrets of her own that she’s trying to hide from Jeremy and, especially Davis. Another unexpected event is the arrival of Andi’s brash younger sister, Piper (Eileen Engel), who unbeknownst to Jeremy and Davis, has a habit of coming to the house on Tuesdays to do her laundry–a revelation that the jealous Jeremy, who has no such privileges, highly resents. I can’t say much more about the plot because the revelations of the various “secrets” and the motivations behind them are the centerpiece of the show. I’ll just say that some things are exactly as they seem, and other definitely are not.

The dialogue and characterization are the strongest elements of this show, along with the excellent performances. Alverson as the confrontational, sarcastic and secretive Andi, and O’Brien as the earnest, excitable and bumbling Jeremy are standouts in an impressive, cohesive cast. Engel plays against type well as the opportunistic, self-absorbed Piper, and Goldmeier is also good as the not-so-masterful “mastermind” of the “secret plan”, Davis, and Wells gives a funny, sympathetic performance as a man who spends the majority of the production being pushed around by the other characters. The characters are interesting, alternating between being sympathetic and not as likable, and generally this is a gripping, funny, entertaining and thought-provoking production, although it does have a few issues, most notably in the “comedy-thriller” designation, since the “thriller” aspect of the production–and particularly the revelation of one character’s seemingly sudden decision–that are less credible and not given sufficient build-up.  The comedy aspect is well done, however, and there are some interesting explorations of the ideas of personal responsibility, opportunism, truth and secret keeping, as well as the idea that not everything or everyone is how they may first appear.

The play does a good job of maintaining the audience’s interest, and the visual presentation is excellent, as well, with a set by Justin Been that is a realistic representation of the unfinished basement in which the action takes place. The characters are all outfitted appropriately by costume designer (and director) Gary F. Bell, as well, and Tyler Duenow’s lighting contributes to the overall atmosphere well.

Overall, this is an impressive, promising new production. While I do think there are some story and character elements that can be improved, it’s a funny and provocative play with well-drawn and well-portrayed characters. It’s definitely worth seeing, and it’s great to see a local theatre company developing such an intriguing new theatrical work by a talented local playwright.

Eileen Engel, Jeremy Goldmeier, Sarajane Alverson
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Monsters at Tower Grove Abbey until June 24, 2017.

 

Read Full Post »

“Joseph” at STAGES is a Biblical Show of Human Proportions

Posted in St Louis Theatre, tagged , , , , , , on June 9, 2017| Leave a Comment »

Joseph and the Amazing Technicolor Dreamcoat
Book and Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed and Choreographed by Stephen Bourneuf
STAGES St. Louis
June 7, 2017

Jeff Sears (Center), Kirsten Scott (Center Right) and Cast
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

Joseph and the Amazing Technicolor Dreamcoat is an intriguing show, simply in terms of how versatile it is. It’s one of those shows that can be done on almost any scale or budget and still work. It’s not the deepest or most profound of shows. It’s really just a lot of fun, but what has become most interesting to me is the range of ways that a theatre company can produce this show. It can be big and flashy or more toned-down. Its look can change drastically depending on the production values and directors’ vision. It’s a show I’ve seen several times now, but I think this latest version from STAGES St. Louis is my favorite yet because of the cohesiveness of design, the sheer personality and energy of the cast, and the emphasis on a more human scale for this story rather than over-the-top flashiness, although it’s certainly a great looking production as well.

The story of this show is fairly straightforward–it’s a retelling of the Bible story of Joseph (Jeff Sears), son of Jacob (Steve Isom), and of Joseph’s journey from shepherd’s son to essentially prime minister of Egypt. It follows Joseph from his early days tending sheep with his eleven brothers, and boasting of his dreams that predict that he will someday rule over the rest of his family.  The story is presented by the Narrator (Kirsten Scott), who interacts with the characters at various times in the process of telling the story. As the story unfolds, a variety of different song styles is employed in whimsical fashion, from the country-western “One More Angel in Heaven” to the 1920’s styled “Potiphar” as Joseph, sold into slavery by his brothers, serves in the house of Potiphar (Brent Michael DiRoma) and is tempted and accused by Mrs. Potiphar (Molly Tynes), and then sent to jail. Joseph’s skill at interpreting dreams eventually brings him to the attention of Pharoah, who is–as in all productions of this show–presented as an Elvis-like figure (also played by DiRoma). It’s a fun show that blends the Bible story with various modern elements and and the variety of musical styles that also includes pop and rock influences.

While I’ve seen bigger and flashier productions of this show, I’m especially impressed by this production’s emphasis more on character and a stylish but not cartoonish look to the production. It’s a very human Joseph, with a strong cast led by the excellent Sears as a Joseph whose emotional journey is given more resonance here than in some other productions I’ve seen, bringing depth to songs like “Close Every Door” and “Any Dream Will Do”. Scott is also superb as the Narrator–a role I’ve generally considered to be the best part in the show–and her vocal range is impressive on numbers like the “Prologue”, “Poor, Poor Joseph”, and “Pharaoh Story”.  Scott brings a good deal of humor to the role of the Narrator as well, and her rapport with Sears as Joseph is a highlight. In fact, this is the first production I’ve seen in which there seems to be a hint of attraction between Joseph and the Narrator. There are also memorable performances from Isom as the proud and then sad patriarch, Jacob, by Tynes as the would-be seductress Mrs. Potiphar, and by all of the actors playing the brothers, and particularly Brad Frenette as Levi, Jeremiah Ginn as Reuben, Jason Eno as Judah, and Kyle Ivey as Benjamin. DiRoma is also a stand-out in two roles, as the rich but lonely Potiphar and especially as Pharaoh, where he exudes a lot of charm and comes across as more of the “young Elvis” as opposed to the older “Las Vegas Elvis”, even though he does get to wear the glittery, sequined jumpsuit. There’s also a strong ensemble to back up the leading performers, displaying a lot of vocal and physical energy on various production numbers that have been dynamically choreographed by director/choreographer Stephen Bourneuf.

Visually, the show is colorful and whimsical without being overly flashy or cartoonish. It’s a great look for this show, in keeping with the overall tone of this production. James Wolk’s versatile set frames the action well, and Brad Musgrove’s costumes are vivid, detailed, and fun. The excellent lighting effects by Sean M. Savoie also adjusts well to the various scene and tone changes throughout the production.

This is a fun show, and the cast and creative team obviously enjoy presenting it. From the starry opening to the bright, energetic “Megamix” conclusion, this is a Joseph with heart and humanity. It’s an excellent, highly entertaining production, and a great start to STAGES’ 2017 season.

Joseph and the Amazing Technicolor Dreamcoat presented by STAGES St. Louis at Robert G. Reim Theatre in Kirkwood, Missouri on June 1, 2017.

STAGES St. Louis is presenting Joseph and the Amazing Technicolor Dreamcoat at the Robert G. Reim Theatre in Kirkwood until July 2, 2017

Read Full Post »

« Newer Posts - Older Posts »