Archive for the ‘USA Theatre’ Category

Fantastically Staged “Life of Pi” is a Remarkable Journey at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on October 10, 2025| Leave a Comment »

Life of Pi
Based on the Novel by Yann Martel
Adapted by Lolita Chakrabarti
Directed by Max Webster
Tour Director Ashley Brooke Monroe
The Fox Theatre
October 8, 2025

Taha Mandviwala, puppeteers Anna Leigh Gortner, Shiloh Goodin, Toussaint Jeanlouis
Photo by Evan Zimmerman for MurphyMade
Life of Pi National Tour

Get ready to be dazzled! The Fox Theatre is currently hosting the national tour of Life of Pi, Lolita Chakrabarti’s adaptation of Yann Martel’s celebrated novel, which has also been adapted as a celebrated film in 2012. I had seen the movie, and heard excellent comments about the play, but even the great word-of-mouth and awards won by this show could not have adequately prepared me for what I saw onstage at the Fox. With a fantastic cast led by a truly dynamic lead and truly stunning production values, along with a riveting, poignant story, this Life of Pi is a theatrical marvel.

The story is told in flashback, as teenage Pi Patel (Taha Mandiwala), the only survivor of a shipwreck, is being interviewed in Mexico about his experience by Lulu Chen (Mi Kang) and Mr. Okamoto (Alan Ariano), who are trying to get the true story about what happened to the ship and how Pi survived. As Pi is finally convinced to tell his story, the set shifts and we see where Pi’s story began, in Pondicherry, India in the late 1970s, where Pi and his older sister Rani (Maya Rangulua) have grown up at a zoo run by their parents (Sorab Wadia, Jessica Angleskhan). We learn about the various animals, including a menacing Bengal tiger named Richard Parker (voice by Toussaint Jeanlouis) and an Orangutan named Orange Juice (Angleskhan). We also learn about Pi’s unsual religious beliefs, observing Hinduism, Islam, and Christianity, which help shape his views of what will soon happen to him. As growing unrest in their country leads the family to head to Canada, they pack up their animals and head out on a ship, soon becoming acquainted with the vessel’s crass French cook (Jeanlouis), among others. When the ship inevitably sinks,  Pi finds himself stranded on a lifeboat with Richard Parker, among others, beginning an epic struggle for survival that tests Pi’s faith as well as his physical and emotional limits. 

The sheer physical production of this show is astounding, with a stunningly fluid set by Tim Hatley that creates a colorful, fully realized world that shifts as needed from a sparsely furnished room in Mexico to populous Indian town, to a ship at sea, and to the open ocean surrounded by rolling waves and debris. Andrzej Goulding’s video and animation design complements the set brilliantly, and aided by the dazzling lighting by Tim Lutkin and Tim Deiling and sound design by Carolyn Downing, the audience is brought along on Pi’s eventful journey. There are also excellent costumes by Hatley and a stirring score by composer Andrew T. Mackey. Seated as I was (along with the other critics) in the mezzanine, I was able to witness the full effect of these remarkable production values, and as great as orchestra seats are at the Fox, I recommend sitting higher up for a more immersive experience.

Also worth noting is the truly fantastic puppetry, with marvelous designs by Nick Barnes and Finn Caldwell, and puppeteering by Ben Durocher, Shiloh Goodin, Anna Leigh Gortner, Austin Wong Harper, Aaron Haskell, Jeanlouis, Betsy Rosen, Anna Vomáčka, and Andrew Wilson. The puppeteers blend in with the cast well, bringing these detailed creations to life, including Richard Parker, Orange Juice, Buckingham the goat, Black and White the Zebra, a sea turtle, and more. The cast of human characters work well with the puppets, led by a tour-de-force performace from the magnetic Mandviwala as Pi. It’s a starring role in every sense of the term, and Mandviwala has the presence, wit, intelligence, grit, and energy, along with a dynamic physicality, that is essential in adequately telling this tale. Madiviwala is supported by a strong ensemble with no weak links, as well, with standouts being Jeanlouis as the cook, Wadia as Pi’s stern-but-caring father, and Angleskhan as his devoted mother. The strong ensemble energy adds much to the poignancy and credibility of the story, which blends elements of realism and fantasy in a riveting storytelling journey.

I was somewhat surprised at how many empty seats I saw on press night, considering how fantastic this show is. This is a show that needs to be seen to be believed. It’s a truly astonishing achievement of modern theatre, blending the best in technical theatre advancements and special effects with timeless storytelling and excellent acting. It’s running until October 19th, and I highly recommend checking it out.

Taha Mandivwala (center) and Cast
Photo by Evan Ziimmerman for MurphyMade
Life of Pi National Tour

The National Tour of Life of Pi is running at the Fox Theatre until October 19, 2025

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Smart, Delightful “& Juliet” Remixes Shakespeare at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on May 22, 2025| Leave a Comment »

& Juliet
Music and Lyrics by Max Martin and Friends, Book by David West Read
Directed by Luke Sheppard
Choreographed by Jennifer Weber
The Fox Theatre
May 20, 2025

Rachel Simone Webb, Teal Wicks and Cast
Photo by Matthew Murphy
& Juliet North American Tour

& Juliet is, in my estimation, quite possibly the perfect jukebox musical. I’ve had a bit of a love-hate relationship with jukebox shows, considering a lot of them come across as more of a collection of acted out songs with a contrived book, but there are exceptions. & Juliet, which I first saw in London before it opened on Broadway, not only has a witty, cleverly constructed book, but it puts its collection of hit pop songs written or co-written by Max Martin to excellent use, often making them seem like they were written for this show. The look, sound, and overall  vibe of this show is smart, funny, and thoroughly entertaining, and the North American tour now playing at the Fox is a fantastic iteration of this marvelous show. 

The show is often described as “what would happen if Juliet didn’t die at the end of Romeo & Juliet?” While that description is essentially true, there’s a lot more than that to this plot. I think of it as sort of a marital conflict worked out through theatre, as the premise has William Shakespeare (Corey Mach) about to open his new tragedy when his wife Anne Hathaway (Teal Wicks) shows up and puts a wrench in his plans, declaring his ending unsatisfying and wanting to write her own, for deeper reasons that will be revealed as the show goes on. So Shakespeare hands Anne his quill and she takes over, as Juliet (Rachel Simone Webb) gets her grand entrance, alone in a tomb, singing the Britney Spears classic “Baby One More Time”. The grieving Juliet then goes on an adventure–with continued wrangling for the quill between Shakespeare and Anne–that gives her a group of friends, including her nurse Angélique (Naima Alakham), best friend May (Nick Drake), and other best friend April (a self-insert played by Anne herself). Their journey takes them to Paris, where they meet the shy François (Jaydon Nget), who is being pressured by his father Lance (Paul Jordan Jansen) to either marry or join the army. There’s also a surprise connection between Lance and Angélique, as various entanglements and confusions lead to rushed decisions, unexpected attractions, and many surprises including the appearance of Romeo (Daniel J. Maldonado).

As the story plays out, many themes are explored including journeys of self-discovery including personal agency, gender roles and identity, marital tensions, and parent-child conflictions, along with secrets and revelations and a soundtrack of familiar songs (and one new one–“One More Try”) that are integrated into the story about as well as I’ve ever seen in a jukebox musical. It’s funny, it’s bold, it’s thoughtful and heartfelt, and an excellent blend of Shakespearean themes with modern values and ideas, with a fun aesthetic that combines both eras. 

This is such a fun show, with excellent dramatic structure and fitting all the subplots in well. For me, the most important figures are Juliet and Anne, since Anne basically starts the action and Juliet starts out as something of an avatar for issues that Anne is exploring, although the other characters get their moments to shine, as well. Webb is fantastic as Juliet, with the requisite stage presence and powerful vocals that make Juliet immensely relatable, and Wicks is also terrific vocally, comedically and dramatically as the persistent Anne. Mach is also fun as the somewhat self-centered Shakespeare, displaying strong chemistry with Wicks in their perpetual sparring. Maldonado is also strong as the somewhat goofy, charming but flighty Romeo. There are also excellent turns from Alakham (the understudy) as the loyal, somewhat secretive Angélique and Jansen as the comically stubborn Lance. There’s also a believable relationship between Lance and the endearingly nerdy François, played with believable charm by another understudy, Nget, who also has credible chemistry with Drake’s conflicted, but also funny and likable May. There’s a first-rate ensemble as well, who are involved in various roles from before the story even officially starts, and who support the vibrant production numbers with clever, energetic modern dancing choreographed by Jennifer Weber. It’s a great cast all around, doing justice to the hard-driving soundtrack of hits from the 1990’s and 2000’s that many in the audience will recognize. 

Visually, the show is as dazzling as it is entertaining, with a unique look and vibe that blends Elizabethan stylings with modern touches, as evidenced by Soutra Gilmour’s striking, versatile set, Andrzej Goulding’s marvelous projections and video design, and Paloma Young’s colorful, stylish costumes. There’s a sense of action throughout this show–everything keeps moving–and this momentum is supported by the excellent band led by conductor and keyboardist Andre Cerullo. There’s also eye-catching lighting by Howard Hudson and strong sound design by Gareth Owen. It’s a unique, cohesive look, feel, and overall energetic presentation.

Ever since I first saw & Juliet in London in early 2020, I’ve been waiting for a chance to see it again. It’s such a fun, clever show that should appeal not only to fans of the music, but also to Shakespeare fans and anyone who likes a good story that blends elements of classic theatre with a bold,  contemporary twist. There is some mature content and strong language, so I would rate it as essentially “PG-13” going by movie ratings.  This touring production is entertaining from start to finish, and a delight to see, hear, and experience.

Corey Mach and Cast
Photo by Matthew Murphy
& Juliet North American Tour

The North American tour of & Juliet is running at the Fox Theatre until June 1, 2025

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“Kimberly Akimbo” at the Fox is a Lively, Unconventional Story

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on March 27, 2025| Leave a Comment »

Kimberly Akimbo
Book and Lyrics by David Lindsay-Abaire, Music by Jeanine Tesori
Directed by Jessica Stone
Choreographed by Danny Mefford
The Fox Theatre
March 25, 2025

Cast of Kimberly Akimbo
Photo by Joan Marcus
Kimberly Akimbo US Tour

Kimberly Akimbo is a much-lauded musical that won various accolades for its Broadway run, including the Tony Award for Best Musical. When I heard the tour was coming to the Fox, I was especially looking forward to seeing it, since I had heard so many good things about it. After seeing this unique, small-ish show with big ambitions, I can say that, for the most part, it lives up to the hype, at least in terms of quality. I have a few reservations about some of the characters and plot itself, but there’s no denying that this show has a lot of enthusiasm and heart, and the tour has a truly wonderful cast. 

Kimberly (Carolee Carmello) is a teenage girl with a rare genetic condition that makes her age rapidly so that she looks like an older woman. She has recently moved to a new town in New Jersey with her parents, Pattie (Laura Woyasz)–who is expecting a new baby–and Buddy (Jim Hogan). She also has a shady Aunt Debra (Emily Koch), who her parents are trying to flee, but who manages to find them. Kim attends high school and goes skating at a local skating rink, forming a friendship with the geeky Seth (Miguel Gil) in the process. There’s also a group of teens involved in the school show choir (Grace Capeless as Delia, Darron Hayes as Martin, Skye Alyssa Friedman as Teresa, and Pierce Wheeler as Aaron) who soon become closer with Kim and Seth and get roped into Debra’s latest “slightly illegal” scheme. As Kim approaches her 16th birthday and the parents await a new baby, and the teenagers wait to grow up so they can move on from the awkward high school years, the plot tension grows as Debra continues to scheme but Kim has her own ideas of how to go about it. 

The overall themes of aging–and the fact that the most immature characters are the adults, who seem to have more lessons to learn than the teens–work in with the overall “make the most of your life while you’re living it” theme, and there are some especially insightful moments particularly between Kim, Seth, and the other teenagers. The adult characters can be difficult to like, considering how self-focused they are–but they do have their moments as well. Some of the biggest musical moments are from Debra, and the talented Koch makes the most of these moments with an excellent, powerful voice and strong comic timing, but I do find her plot a bit unsatisfying ultimately, and find myself hoping that Buddy and Pattie–also excellently played by Hogan and Woyasz–do become better parents in the future. Still, the real heart of this show is Kim, Seth, and their high school classmates, and casting there is also fantastic. Carmello makes me forget she’s not actually 16 for most of the play, with her quirky, persistent hopefulness and determination. She’s also well-matched by Gil in a goofily charming turn as Seth. Capeless, Hayes, Friedman, and Wheeler are also marvelous and relatable as the show-choir kids, with strong harmonies in the musical numbers. Also, Danny Mefford’s clever choreography adds a gawky energy to the teens’ dance numbers that’s effectively in keeping with their characters and story.

The set, by David Zinn, is detailed and dynamic, aided by Lucy McKinnon’s video design. There are also colorful, characterful costumes by Sarah Laux, and strong hair, wig, and makeup design by J. Jared Janas. Jeanette Oi-Suk Yew’s lighting is also fantastic, but there are some difficulties with the sound in moments. The orchestra, led by conductor Leigh Delano, lends energy and emotion to the memorable Jeanine Tesori score, as well.

Overall, Kimberly Akimbo is a fascinating, entertaining show with a fantastic score and a great cast. I find it difficult to care much about the adult characters at times, but the teen characters are its heart and soul, especially Kimberly herself. There are many relatable high school moments here, and the themes of making the most of life and taking responsibility are important. I can see why it has resonated with so many fans. I’m glad I was able to see this fantastic touring production at the Fox. 

Carolee Carmello, Miguel Gil
Photo by Joan Marcus
Kimberly Akimbo US Tour

The US Tour of Kimberly Akimbo is playing at the Fox Theatre until April 6, 2025

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Thoughtfully Reinvented “Some Like It Hot” Entertains in Style at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on February 28, 2025| Leave a Comment »

Some Like It Hot
Book by Matthew Lopez and Amber Ruffin
Music by Marc Shaiman, Lyrics by Scott Wittman and Marc Shaiman
Based on the Metro-Goldwyn-Mayer Motion Picture “Some Like It Hot”
Directed and Choreographed by Casey Nicholaw
The Fox Theatre
February 26, 2025

Tavis Kordell, Matt Loehr
Photo by Matt Murphy
Some Like It Hot North American Tour

Some Like It Hot is a classic American film that has the unusual distinction of having been adapted into two different Broadway musicals. While 1972’s Sugar  was a more straightforward adaptation (which I have seen because my high school performed it in the 1980s), the newer, Tony-winning Some Like It Hot is more of a thoughtful reinvention and recontextualization of the source material, with some clever homages to the original film and a catchy, jazz-influenced score. With a great cast and fantastic production design, this production is a lively, entertaining show with energy, style and a whole lot of heart. 

Taking place at the tail-end of Prohibition in 1933, the action starts in Chicago, as does the film. This time, however, Sweet Sue (Tarra Connor Jones) starts her “all-girl” band after having been arrested in a police raid at a speakeasy, and their tour leads them to California rather than Miami, in an entirely logical change (explained in the show) that also pays tribute to the real filming location of the movie, the Hotel Del Coronado near San Diego. The main characters, Joe (Matt Loehr) and Jerry (Tavis Kordell), are musicians but also song-and-dance performers who grew up together and are looking for a new job. When they accidentally witness a mob hit by new boss, nightclub owner and gangster Spats (Devon Goffman), they go on the run, taking Joe’s idea to disguise themselves as women in order to join Sweet Sue’s band and flee to California and, eventually, Mexico. While on tour, however, “Josephine” and “Daphne” get to know their fellow band members, with Joe becoming attracted to singer Sugar Kane (Leandra Ellis-Gaston), and Jerry/Daphne starting to feel more accepted and at home as Daphne than as Jerry. The situation gets more complicated when they arrive in California and prepare for their performance at the Hotel Del Coronado, where Joe assumes an “alter ego” in order to woo Sugar and the band meets hotel owner Osgood (Edward Juvier), who is instantly smitten with Daphne. Meanwhile, Spats has also arrived in California hoping to silence the witnesses to his crime, and various characters face moments of truth about who they are and what they want to do with their lives. 

The adaptation, while making some clear changes to the original film, is impressively well thought-through, with every change making sense and adding much in the way of character development and advancing the theme of self-discovery and expression. It also recontextualizes the source material to allow for a diverse cast, adding layers of complexity to the story. Also, making the central characters singers and dancers as well as musicians makes sense in the context of a stage musical and lends a level of pizzazz to production numbers featuring some excellent tap-heavy choreography by director Casey Nicholaw. The show also explores issues of racism and prejudice, gender roles, individual identity and expression, and more while maintaining a lively, musical comedy atmosphere and featuring overall upbeat atmosphere and glitzy, glamorous Broadway and 1930s Hollywood style. 

The cast is excellent, led by strong, charismatic and athletically dancing performances by Loehr as Joe/”Josephine”/”Kip” and Kordell as Jerry/Daphne. These two form the emotional core of the show, supported well by fantastic work from Ellis-Gaston as the talented, Hollywood-aspiring Sugar, Jones as the tough-talking Sweet Sue, and Juvier as the kindly, enthusiastic Osgood, who has a secret of his own. There are also strong turns from Goffman as the shady Spats and Jame LaVerdiere as the persistent FBI Agent Mulligan. There’s also a top-notch ensemble who lend much energy and comic timing to the story as well as terrific singing and dancing.

In a technical sense, the show featuring eye-catching scenic design by Scott Pask and colorful, detailed costumes by Gregg Barnes that are in keeping with the era and tone of the production. There’s also dazzling lighting by Natasha Katz and stylish hair design by Josh Marquette. The sound by Brian Ronan is fine for the most part, although there are some issues with volume and clarity on some of the songs. 

Ultimately, this show does what it sets out to do–entertain in style. It’s more of a reimagining of the film than a straightforward adaptation, but that had already been done. Here, Some Like It Hot dazzles with songs, dances, and laughs, but also thoughtfully recontextualizes the source material in a way that makes sense without  changing the overall tone of the story. It’s a lively tribute to the film while also managing to be its own unique thing. It’s a lot of fun, and well worth checking out.

Leandra Ellis-Gaston (Center) and Cast
Photo by Matthew Murphy
Some Like It Hot North American Tour

The North American Tour of Some Like It Hot is running at the Fox Theatre until March 9, 2025

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“Shucked” at the Fox is Fun, But Maybe a Little Too Corny

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on February 12, 2025| Leave a Comment »

Shucked
Book by Robert Horn, Music and Lyrics by Brandy Clark and Shane McAnally
Directed by Jack O’Brien
Choreographed by Sarah O’Gleby
The Fox Theatre
February 11, 2025

Danielle Wade, Miki Abraham
Photo by Matthew Murphy and Evan Zimmerman
Shucked North American Tour

Shucked is all about corn, both in a literal and figurative sense. Yes, the story is about a county that depends upon its corn crop for its livelihood, but I also wonder if there’s ever been another musical that relies so heavily on goofy jokes for its appeal, especially as compensation for a relatively thin plot. Don’t read me wrong–this show is a whole lot fun, and it’s not really trying to be high art. It’s currently playing at the Fox, with a strong, energetic cast and lively production values, and unless you have no sense of humor at all, there are a lot of laughs here. I like it, but I can’t help but feel overdosed on sweetness at the end, kind of like I’ve had an overly large milkshake. It tastes good, but did I really need that many empty calories?

Sometimes, though, empty calories are just fun, and Shucked is certainly a lot of fun, even though I do keep wishing for a little more in terms of plot. What plot there is is padded out a lot with jokes that are funny, but don’t serve much purpose other than provoking more laughs. It’s a fairly simple premise, told by a pair of perky narrators (Maya Lagerstam, Tyler Joseph Ellis)–Cob County is an isolated community where all aspects of life revolve around its corn crop, which begins to die just as local couple Maizy (Danielle Wade) and Beau (Jake Odmark) are about to get married. Since nobody has ever left Cob County, the locals all object when Maizy suggests sending someone out into the outside world to find someone who may be able to help save the corn. Everyone, including Maizy’s kindly Grandpa (Kyle Sherman), Beau’s jokester brother Peanut (Mike Nappi),  and even her independent-minded entrepreneur cousin Lulu (Miki Abraham) are against Maizy’s idea, and Beau is actually insulted because Maizy doesn’t trust him to fix the corn on his own. Well, Maizy leaves anyway, ending up in the strange new world of Tampa, where she meets Gordy (Quinn Van Antwerp), who Maizy mistakes for a corn expert, and because Gordy is a con man and in a lot of debt, he goes back with her for self-serving reasons, turning on the charm all the way and convincing Maizy that’s he’s in love with her. When they get back, everyone seems on board with Gordy except for Lulu and the jealous Beau, although Lulu soon reluctantly finds herself attracted to Gordy as well. Since this is an upbeat comedy, it shouldn’t be a spoiler to say everything eventually gets worked out, but it’s all in the midst of a bunch of corny jokes and puns and some catchy tunes and production numbers. 

The cast is excellent, led by Wade in an enthusiastic, highly likable and well-sung turn as the optimistic Maizy and by Abraham as the tough-talking, enterprising Lulu, who gets perhaps the show’s best number, “Independently Owned”, turning in a great performance. Van Antwerp is also strong as Gordy, with the requisite charisma and charm, and Odmark does about as well as he can with the underwritten role of Beau. Nappi is fun as Peanut, displaying great comic timing, and although the character basically just exists to tell corny jokes, Nappi does this well. Lagerstam and Elli make for amiable, strong-voiced narrators as well, and the whole ensemble is perky, upbeat and all in on all the goofy jokes and humor. 

The show looks great visually, with a striking, versatile set by Scott Pask and bright, colorful costumes by Tilly Grimes. The lighting by Japhy Weideman and especially the clear sound by John Shivers contribute much to the overall atmosphere and energy of the proceedings. There’s also energetic dancing cleverly choreographed by Sarah O’Gleby, and a small but lively orchestra led by music director Nick Williams.

Overall, Shucked is lots of corny, upbeat fun, with a dash of raunchiness thrown into the mass of jokes from time to time. Even though there are a lot of issues someone could have with the plot if they really thought about it, this isn’t really that kind of show. It’s here to entertain, and it does that. I guess sometimes you really just want that oversized milk shake, even if it may be sweetened with a little too much corn syrup. 

Cast of Shucked
Photo by Matthew Murphy and Evan Zimmerman
Shucked North American Tour

The North American Tour of Shucked is running at the Fox Theatre until February 23, 2025

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Fun Revised “Peter Pan” at the Fox Takes a New Look at a Familiar Classic

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , , , , , on November 14, 2024| Leave a Comment »

Peter Pan
A Musical Based on the play by J. M. Barrie
Lyrics by Carolyn Leigh, Book by Morris (Moose) Charlap
Additional Lyrics by Betty Comden, Adolph Green, and Amanda Green
Additional Music by Jule Styne, Additonal Book by Larissa Fasthorse
Directed by Lonny Price
Choreographed by Lorin Latarro
The Fox Theatre
November 13, 2024

Nolan Almeida, Hawa Kamara
Photo by Matthew Murphy
Peter Pan US Tour

Peter Pan is a classic Broadway musical that has been filmed several times over the years. It has been a hit with audiences in the past, but parts of it have become dated over the years, and the latest production, featuring new additions to the book by Larissa Fasthorse and now on tour at the Fox, has worked to fix some of the problematic elements while retaining the overall spirit and classic story and score. This production, led by several dynamic performers and an energetic young lead, works well as a family favorite and a refreshing update in that, while it does make a few necessary changes, it’s still very recognizably Peter Pan.

One of the more obvious changes is apparent from the outset. The story still starts by introducing the Darling siblings–Wendy (Hawa Kamara), John (William Foon)–and Michael (Camden Kwok) and their harried parents (Shefali Deshpande as Mrs. Darling, Cody Garcia as Mr. Darling), but the setting is no longer Victorian England but the present day, and the dog Nanna has been replaced by a distracted human babysitter, Liza (Hannah Schmidt). This setup works surprisingly well, with the idea of youth vs. “growing up” being introduced in the children’s interests and Mr. Darling’s hyperfocus on his work. Soon, Peter Pan (Nolan Almeida) arrives, and the story plays out essentially as before, but with an elevated role for Tiger Lily (played at this performance by Bailey Frankenberg) and fellow Native American denizens of Neverland, who are given a brief but poignant backstory. There are also the orphaned Lost Boys, who follow Peter and are looking for a mother, and the vengeful Captain Hook (also Garcia), who leads a bumbling gang of pirates and hope to follow through on a personal grudge against Peter. As before, the story is full of humor, adventure, swashbuckling sword fights, and the classic score featuring familiar songs like “I Gotta Crow”, “I’m Flying”, “Distant Melody” and more, with a few additions including the lively “Friends Forever” for Peter and Tiger Lily and their followers, which is a welcome replacement for an outdated previous song.

The performances and staging are lively and energetic, with a charming performance from Almeida as the determinedly youthful Peter, and by Kamara as the resourceful Wendy, who has strong chemistry with Almeida as well as with the delightful young Foon and Kwok as her brothers. Frankenberg, filling in for principal Raye Zaragoza as Tiger Lily, is also excellent and a strong dancer. Garcia in a dual role as Mr. Darling and as the vain, scheming Captain Hook is hilarious and full of energy, supported in a fun comic performance by Kurt Perry as his First Mate, Smee. There’s also a delightful ensemble of Lost Boys, Pirates, and Tiger Lily’s tribe that provide much in the way of humor, enthusiasm, and athletic dancing choregraphed by Lorin Latarro. 

The production values are especially impressive and adaptable for a tour, with a versatile set by Anna Louizos that features some clever transitions, as well as thrilling projections designed by David Bengali and dynamic flying moments choreographed by Paul Rubin. There are also colorful costumes by Sarafina Bush, as well as striking lighting by Amith Chandrashaker. 

Overall, this Peter Pan is a lot of fun, with action, humor, and lots of heart. It’s a welcome and appropriately updated production that works well while keeping the essence of the story of the struggle between the desire to grow up fast and maintaining the adventure and freedom of youth. It’s an entertaining, tuneful and visually stunning treat for all ages. 

Cast of Peter Pan
Photo by Matthew Murphy
Peter Pan US Tour

The National Tour of Peter Pan is running at the Fox Theatre until November 24, 2024

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Dazzling “Moulin Rouge!” Glories in Excess at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , on May 3, 2024| Leave a Comment »

Moulin Rouge! The Musical
Book by John Logan
Based on the 2001 Twentieth Century Studios Motion Picture written by Baz Luhrmann and Craig Pearce, Directed by Baz Luhrmann
Directed by Alex Timbers
Choreographed by Sonya Tayeh
The Fox Theatre
May 1, 2024

Robert Petkoff and Cast
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

“Truth! Beauty! Freedom! Love!” The newest touring production onstage at the Fox, Moulin Rouge! The Musical, has all that and more, throwing everything it can onstage in terms of music, style, production values, intense emotions, and a seemingly endless list of pop music hits. Even though it’s not quite as dazzling as Broadway simply due to the limitations of touring, this show pulls out all the stops with impressive flair. The great cast is also a major selling point.

The show, based on Baz Luhrmann’s buzzy 2001 hit film, follows the same basic plot as the film but throws in a lot more music, including many songs that have become hits since the movie first came out. Pop hits from the 20th and 21st centuries along with some notable opera themes highlight this story set in late 19th Century Paris and centered around a group of ambitious artists and performers as the fabled Moulin Rouge venue. The love story of aspiring songwriter Christian (Christian Douglas) and Moulin Rouge headliner Satine (Gabrielle McClinton) features humor, romance, melodrama, tragedy, and a heavy dose of idealism. It’s also a celebration of the performing arts and art in general, with Christian and his compatriots Toulouse-Lautrec (Nick Rashad Burroughs) and Santiago (Danny Burgos), along with the performers at the club and emcee Harold Zidler (Robert Petkoff) rehearsing a new show and struggling to keep the venue alive. Of course, there’s also the villain, the self-centered and possessive Duke of Monroth (Andrew Brewer), who insists on controlling the club–and Satine–for his own interests. 

Even though there is a plot, that’s not what drives this show ultimately. It’s all about spectacle, the chemistry of the performers, and all those songs performed with appropriate intensity and over-the-top style. The cast is great, for the most part, led by the charmingly optimistic Douglas as Christian, whose strong vocals and likable stage presence hold attention–along with McClinton in an excellent turn as the talented and tragic Satine. These two light up the stage with their chemistry. Petkoff as Zidler is also impressive, as is Burroughs as a particularly sympathetic Toulouse-Lautrec, and Burgos as the humorously bold Santiago. Sarah Bowden also stands out, making the most of a smaller role as Nini, one of the club’s more prominent performers. Brewer makes the most of his role as Duke even though the character doesn’t have much in the way of depth. There’s also a fantastic ensemble of singers and dancers backing up the leads, filling out the spectacular production numbers and adding appropriate pizzazz to Sonya Tayeh’s sparkling choreography.

Physically, the show looks great as well, if not quite as grand as it did on Broadway when the set was built into the theatre for a more immersive experience. This is a tour, though, so that immersion factor is a bit limited, although Derek McLane’s flashy, stylish set fits in well at the Fox and matches the overall style of the theatre. The costumes are also superb, designed by Catherine Zuber to fit in with the fashions of the era with a bold range of colors and textures. There’s also dazzling lighting by Justin Townsend and impressive sound by Peter Hylenski, as well as an excellent orchestra led by music director Andrew Graham. The look, atmosphere, and overall vibe of the show echoes the film, but doesn’t exactly copy it, and that works well considering the transition to a theatrical setting.

If you saw the movie, you will definitely notice changes, especially in terms of the music. Although prominent songs such a “Your Song”, “Nature Boy”, and the original (for the film) “Come What May” are still prominently featured, there are many new hits added to the mix, some of which are more heavily features with some showing up for only a few lines. The music and overall style of this show are the stars here, with the strong cast giving their all and providing for a deliciously over-the-top experience at the theatre. 

Christian Douglas, Gabrielle McClinton
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

The US tour of Moulin Rouge! The Musical is running at the Fox Theatre until May 12, 2024

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Revised, Visually Striking “Company” Explores Commitment Issues from a New Perspective with a Strong Cast

Posted in St Louis Theatre, USA Theatre on February 29, 2024| Leave a Comment »

Company
Music and Lyrics by Stephen Sondheim, Book by George Furth
Directed by Marianne Elliott
Choreographed by Liam Steel
The Fox Theatre
February 27, 2024

Cast of Company
Photo by Matthew Murphy for MurphyMade
Company North American Tour

For Stephen Sondheim fans, Company is generally regarded as a classic show, although since it debuted in 1970, the show has appeared more and more dated over the years, even though it has been revived several times. The current iteration, on tour at the Fox Theatre, is director Marianne Elliott’s effort to update the story even more than before. At the Fox, the show features some stylish visual elements as well as a strong cast, making for a compelling, entertaining production, for the most part.

As opposed to previous revivals that made a few setting updates but still kept the casting similar to the original, this production makes some major changes. Most notably, here the protagonist is not the male Robert/Bobby, but the female Bobbie (Beth Stafford Laird), who is approaching her 35th birthday amid the well-meaning pressures and worries of her married friends to consider marriage herself. It’s a concept show, so there isn’t really a linear plot. The story instead consists of a series of vignettes and reflections on the concept of marriage and relationships, as her friends demonstrate wildly different experiences of wedlock while still insisting that Bobbie give marriage a try. We also meet three contrasting men she dates–the handsome but not-too-bright Andy (Kenneth Quinney Francoeur), the edgy PJ (Tyler Hardwick), and the family-minded Theo (David Socolar). Through the course of the story, Bobbie is driven to personal reflection and forced to reckon with her own fears of commitment in trying to decide what she really wants in a relationship. 

Elliott’s Company revival originated in London in 2018 before opening on Broadway in 2021. I was thrilled to have been able to see it in London, and I remember enjoying it immensely, as well as thinking that the gender-switched lead casting worked better in a modern setting, considering that today, it’s more believable that a 35-year-old woman would be pressured by society to marry than a 35-year-old man. The other adjustments also worked well in fitting with that premise. Seeing the touring production now, I still think it works better with a woman in the lead, unless it’s done as a period piece set in the early 1970’s. Some of the subject matter can be difficult no matter what the setting, in that this seems like an especially cynical view of marriage and relationships, and I also find myself wondering why Bobbie is friends with some of these characters–but with vivid characterizations and performances, energetic and thoughtful staging, and a succession of classic Sondheim songs like “Side by Side by Side”, “Another Hundred People”, “The Ladies Who Lunch”, and “Being Alive”, it’s a compelling, entertaining story that’s sure to be fodder for reflection and conversation. 

The production is excellent, reflecting strong casting not just in the principals but also in the understudies, as several were on for the performance I saw, and I wouldn’t have been able to guess they were understudies if I hadn’t been informed by the cast board in the lobby. One of these memorable understudies is Laird, in the lead role of Bobbie, standing in for principal Britney Coleman. Laird gives a convincing, relatable performance, displaying strong stage presence and movement, as well as a fine voice. Other notable understudies include Francoeur in a convincing comic performance as Andy, as well as Christopher DeAngelis and Elysia Jordan as the bickering couple Peter and Susan. Also standing out in this cast include Judy McLane as the snarky Joanne, who does an excellent job emphasizing the self-sabotaging loneliness of the character as well as her assertiveness.  Matt Rodin is a delight as anxious groom-to-be Jamie (changed from nervous bride “Amy” in the original), who delivers an energetic rendition of “Getting Married Today” and displays strong friendship chemistry with Laird’s Bobbie. Also, Kathryn Allison and James Earl Jones II are memorable as the competitive couple Sarah and Harry. The whole ensemble is strong, with cohesive chemistry and a good deal of energy and presence, handling the upbeat numbers and the more reflective moments well. 

In terms of staging, this show does a great job of portraying the pressure Bobbie experiences through its scenery, with a clever modular set by Bunny Christie that works well in portraying a claustrophobic, boxed-in atmosphere for Bobbie as her birthday approaches and her friends plan a party and assert their influence. Christie’s costumes also suit the characters well, as does the hair, wig, and make-up design by Campbell Young Associates. Neil Austin’s lighting also works well to set the mood and New York City vibe of the show. The band, led by music director Charlie Alterman, brings suitable energy to the classic Sondheim score, as well.

If you’re used to the classic staging of Company, you’re in for a surprise, and to my mind, it’s a pleasant one. While it’s to individual viewers to decide whether or not the “updating” makes sense, this is a stylish, well thought-out revisal that serves as a showcase for the notable score as well as some first-rate performances. It’s a new spin on a Broadway classic, and a thoroughly entertaining spin, at that. 

Cast of Company
Photo by Matthew Murphy for MurphyMade
Company North American Tour

The North American tour of Company is playing at the Fox Theatre until March 10, 2024

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“Funny Girl” Tour Showcases Its Star, Despite Uneven Script

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , on January 25, 2024| Leave a Comment »

Funny Girl
Music by Jule Styne, Lyrics by Bob Merrill
Book by Isobel Lennart, Revised Book by Harvey Fierstein
Directed by Michael Mayer
Choreographed by Ellenore Scott
The Fox Theatre
January 23, 2024

Katerina McCrimmon, Izaiah Monteque Harris
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

The recent Broadway revival of Funny Girl was certainly not without controversy. Even though this show has always been sort of overshadowed by the reputation of its original star, Barbra Streisand, the revival had its own casting drama that went beyond Streisand comparisons. While the show has closed on Broadway, the tour is going strong, and even though the show itself is hardly worthy of decades of hype, it’s still a fun vehicle for the right performer. And in this tour, in terms of sheer talent and energy, Katerina McCrimmon makes a strong case for being the “Greatest Star” that this show needs.

The story, as anyone who is familiar with the show knows, is a highly embellished rags-to-riches story following famous comic performer Fanny Brice (McCrimmon), who starts out as an unknown from Henry Street and eventually becomes the toast of the famed Ziegfeld Follies, eventually appearing in radio, film, and TV, as well. The story follows her humble beginnings trying to break in to show business, meeting dancer Eddie Ryan (Izaiah Monteque Harris), who helps her get her first job, where she is eventually noticed by ambitious businessman and gambler Nick Arnstein (Stephen Mark Lukas), who charms his way into her life and eventually marries her. The show is at its strongest when showcasing Fanny’s talents–from her first big solo “I’m The Greatest Star” to well-known hits “People” and “Don’t Rain on My Parade” to her final torch-song “The Music That Makes Me Dance”, along with her glitzy, choreographed Follies numbers. Her relationships with Eddie and her mother (Barbara Tirell) are also memorable, as are her early moments with Nick, although in the second act the romantic drama becomes something of a slog. Also, the scenes with Mrs. Brice and her poker pals Mrs. Strakosh (Eileen T’Kaye) and Mrs. Meeker (Hannah Shankman) can distract unnecessarily from the main story. Still, this show is it its best when it centers on Fanny herself, and even though the first act is better than the second–until the memorable finale–for the most part it’s an entertaining, well-cast show. 

One of the odd phenomena surrounding this show, though, is that now, Brice herself isn’t as well-known as the performer who originated the role in the first Broadway production of this play, as well as the movie, and whenever anyone hears the name “Fanny Brice” or Funny Girl, the first name that comes to mind is usually Streisand’s. The audience members sitting behind me at the Fox are testament to this, as they wondered who else could live up to that illustrious reputation. Well, I’m pleased to say that McCrimmon does about as excellent a job as I can imagine, and the audience appeared to agree with me, giving her thunderous applause after her big numbers and an enthusiastic ovation at the end. McCrimmon is great with the comedy and the drama, and her powerful voice does justice to the score. She doesn’t copy Streisand, although there are a few moments in “People” especially in which she evokes memories of the legendary singer. Still, this show is about Fanny Brice, not Barbra Streisand, and that is reflected well in the strong direction. There are also standout performances by Harris–a tap-dancing marvel–as Eddie, and Tirrell as the feisty, supportive Mrs. Brice. Lukas also brings a good deal of charm and charisma, as well as a great voice, to the role of Nick, even though I still find it difficult to sympathize with his character. There’s also a strong, enthusiastic ensemble, especially in the Ziegfeld numbers, and energetic choreography by Ellenore Scott.

The show looks good, as well, for the most part, except for a few awkward set pieces in the Henry Street scene. Still, the set by David Zinn, costumes by Susan Hilferty, and lighting by Kevin Adams bring out a credibly authentic mood reflecting the early 20th Century time period and “Old Broadway” setting. The sound is a bit low in parts, and especially early in the show, the songs can be difficult to understand, although this does improve noticeably as the show goes on. The orchestra, led by music director Elaine Davidson, does a great job with the classic Jule Styne score, as well.

So, as I’d say with any production of Funny Girl, if you’re looking for Barbra Streisand, you won’t find her here. Still, if you’re looking for a funny, talented, big-voiced talent that can light up a stage, you will certainly find her in this production on tour at the Fox. It’s not a perfect show, but the star is excellent, supported by a great cast, and this show makes for an entertaining evening of musical theatre. 

Stephen Mark Lukas, Izaiah Monteque Harris, Katerina McCrimmon
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

 

The North American tour of Funny Girl is running at the Fox Theatre until February 4, 2024

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“Beetlejuice” is Scarily Entertaining Fun at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on October 12, 2023| Leave a Comment »

Beetlejuice
Music and Lyrics by Eddie Perfect, Book by Scott Brown and Anthony King
Directed by Alex Timbers
Choreographed by Connor Gallagher
The Fox Theatre
October 11, 2023

Isabella Esler, Justin Collette
Photo by Matthew Murphy
Beetlejuice North American Tour

I’ve seen the movie Beetlejuice in its entirety once, and that was when was first released in 1988. I had seen very few clips of the musical adaptation, as well (mostly the Tony Awards performance). Still, even though my Beetlejuice knowledge was rusty, that doesn’t take away from my enjoyment of the energetic, technically impressive tour that’s currently running at the Fox. With a great cast, a catchy score, and some eye-catching visuals, this is a crowd-pleaser with a surprising amount of heart.

There are a few changes from the movie plot, apparently, and the focus here is more on Beetlejuice himself (Justin Collette), and the sad teenager Lydia Deetz (Isabella Esler) than movie leads Barbara (Megan McGinnis) and Adam Maitland (Ryan Breslin, subbing for principal Will Burton), and the tone is possibly even darker than Tim Burton’s original film. Still, the overall vibe is dark comedy, with some heartwarming moments thrown into the mix, and an ultimately hopeful message of family, belonging, and living life to the fullest. As the grieving Lydia tries to deal with the recent death of her mother, and her father Charles (Jesse Sharp) tries to forget his grief by ignoring it and moving on with aggressively perky life coach Delia (Kate Marilley), and trying to fix up the recently-deceased Maitlands’ house, the impossibly nice Barbara and Adam try to learn how to be ghosts, and Beetlejuice desperately wants to be able to be seen by living people in hopes that he won’t be oppressively lonely anymore. Of course, Beetlejuice being as creepy and mischievous as he is, much hijinks ensue, with some broad comedy, crass jokes, and lively musical numbers punctuating the story along the way. 

Even though there’s a lot happening here, the story moves along well, and is fairly easy to follow, with the performances adding energy and enthusiasm to the already wacky plot and characters. Collette and Esler are the obvious stars here, with Collette great with comic timing and physical comedy, and Esler impressing with memorable stage presence and powerful vocals. McGunnis and Bresler are also strong as the almost-too-nice Barbara and Adam, who have many fun moments together and with Lydia and Beetlejuice, especially. There are also memorable turns from Sharp as the initially clueless but ultimately well-meaning Charles, and Marilley as the impossibly wacky but also well-meaning Delia. There’s an excellent ensemble to back up the leads, as well, who especially excel in the production numbers and energetic choreography by Connor Gallagher.

Technically, the show dazzles, especially for a touring show, with an impressively elaborate set by David Korins and marvelous projections by Peter Negrini. William Ivey Long’s costumes are clever and delightfully whimsical, as well, with some impressive hair and wig design by Charles G. LaPointe. The excellent lighting by Kenneth Posner, puppet design by Michael Curry, Makeup by Joe Dulude II, and sound by Peter Hylenski also contribute a lot to the overall comically creepy atmosphere. 

Beetlejuice is a whole lot of fun, and it seems especially appropriate this time of year in the run-up to Halloween. There is some crass humor and language, so it may not be best for young children, but it seems most appealing for teens and up. Even if you haven’t seen the film, or don’t remember it well, this show should make a strong impression. It’s a big, crass, creepily hilarious show that looks and sounds great. It’s a fun show to start off the new season of touring shows at the Fox.

Justin Collette (center) and Cast of Beetlejuice
Photo by Matthew Murphy
Beetlejuice North American Tour

The North American tour of Beetlejuice is running at the Fox Theatre until October 22, 2023

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