Snoop's Theatre Thoughts

“Great Falls” at WEPG Is Intriguing But Bleak

April 15, 2016 by Michelle Kenyon ("Snoop")

Great Falls
by Lee Blessing
Directed by Tom Kopp
West End Players Guild
April 9, 2016

Shannon Lampkin, Isaiah DiLorenzo
Photo by John Lamb
West End Players Guild

Great Falls is not a happy play, and that’s an understatement. The newest offering from West End Players Guild is a two-person travelogue of a play that takes its audience on a tour not only of the American Northwest, but of its lead characters’ emotions and personal struggles. It’s a well-cast character study that does manage to evoke a few laughs, although for the most part its outlook on life is grim.

The characters here–a recently divorced man and his former stepdaughter–aren’t given names. They’re listed in the program and referred to in the play as Monkey Man (Isaiah DiLorenzo) and Bitch (Shannon Lampkin). In the wake of multiple infidelities and an acrimonious divorce, Monkey Man is eager to salvage his relationship with his ex-wife’s daughter, so he takes her on an impromptu road trip to South Dakota, Wyoming, and Montana with the intention of revisiting the locations of his own childhood vacations, as well as having some serious conversations. Although his intent is to maintain a relationship, Bitch isn’t interested, at least at first. Through the course of the play, their journey takes them to a variety of well-known and lesser known locations, and some surprising truths are revealed. Without giving too much away, I’ll say that many of those truths are unpleasant, and the play’s revelations about the nature of the men and boys in Bitch’s life are more than a little disturbing. It has its lighter moments, but the overall mood is increasingly dark.

The interplay between the two performers is the highlight of this production. DiLorenzo portrays a determined, guilt-plagued Monkeyman, trying to maintain a sense of optimism and not quite succeeding, as he continually spars with Lampkin’s snarky, moody character who insists that Monkeyman call her Bitch. Their verbal sparring is the centerpiece of the show, and their journey from antipathy to empathy and beyond is compelling to watch.

The setting here is fairly simple. As usual for most WEPG productions, the production utilizes the stage and the area in front of it, with Stephanie Draper’s set framed by material suggesting a cavern of some sort. There’s a low-budget hotel room set on the stage, and a simple framework of Monkeyman’s car that is brought for several scenes, and a backdrop with projections representing the various landmarks the characters visit. The costumes, by Tracey Newcomb-Margrave, are well-suited to the characters, and Draper’s lighting is also effective.

This play is more than “not happy”, really. It can be downright depressing, with an ending that leaves more questions than answers. Themes of estrangement, loneliness, violence and assault are addressed in a matter-of-fact manner that can be jarring and relentless. Still, it does a good job of creating a mood and setting, and the characters are well portrayed. Great Falls is not for all audiences, but it tells a memorable story.

Shannon Lampkin, Isaiah DiLorenzo
Photo by John Lamb
West End Players Guild

Great Falls is being presented by West End Players Guild at Union Avenue Christian Church until April 17th, 2016.

Posted in St Louis Theatre | Tagged great falls, lee blessing, review, st louis, tom kopp, west end players guild | Leave a Comment »

“Richard III” Schemes and Reigns With Brutal Intensity at St. Louis Shakespeare

April 14, 2016 by Michelle Kenyon ("Snoop")

Richard III
by William Shakespeare
Directed by Suki Peters
St. Louis Shakespeare
April 8, 2016

Charlie Barron
Photo by John Lamb
St. Louis Shakespeare

Richard III, as told by William Shakespeare, may or may not be particularly accurate from a historical point of view. It’s clear whose side the Bard was on in the epic battle between the Houses of Lancaster and York, but what matters in drama is the how the story is told and how the characters portray that story. In St. Louis Shakespeare’s superbly cast new staging of the classic history play, raw ambition is at the forefront as Richard schemes his way to the throne.

Richard (Charlie Barron) begins the play as the Duke of Gloucester. In a series of asides to the audience that seem something like “talking head” interviews from a TV show, the unscrupulous Duke hatches and executes his plan to become King of England, starting with having his brother, George, Duke of Clarence (Maxwell Knocke) imprisoned and later killed. He wheedles his way into marriage with the (very) recently widowed Anne Neville (Jennifer Theby-Quinn) in order to secure an alliance with her family. Through the course of play Richard connives and manipulates, running afoul of the current queen, Elizabeth (Michelle Hand), the former queen, Margaret (Jeanitta Perkins), and even his own mother, the Duchess of York (Margeau Steinau). He enlists an array of henchmen and “advisors”, but his trust in them varies. Chief among these allies is the conflicted Duke of Buckingham (John Foughty), who is increasingly uneasy with Richard’s plans. Eventually ascending the throne, Richard is eventually led to war with his chief rival, the nobly depicted Henry, the Earl of Richmond (Erik Kuhn).

Regardless of historical quibbles and whose side the viewer may be on in this legendary clash, Shakespeare’s Richard is painted as a clear villain. Usually portrayed with a contorted body and a decided stoop, Richard here is portrayed by Baron as more upright in the posture department, but still as gleefully villainous. Walking with a limp is about the extent of the physical limitations of Barron’s Richard, although he brings a sharp physicality to the role, and a wily, conniving, viciously forceful manner. He holds the viewer’s attention with ease, and his scenes with Theby-Quinn’s defiantly reluctant Anne, Hand’s harried Elizabeth, Perkins’s confrontational Margaret, and Foughty’s principled, conflicted Buckingham are intensely charged. Other standouts include Chuck Winning in a dual role as King Edward IV and another of Richard’s allies, Sir Robert Brackenbury. There’s also a particularly menacing turn by Brennan Eller as hired assassin Sir James Tyrell. Erik Kuhn plays a reluctant assassin with sympathy, although his turn as the heroic Richmond is slightly less convincing. For the most part, though, this is an extremely strong cast, with too many strong performances to name.

It’s a well-staged production, with a multi-level set by Jason Townes that appropriately evokes the era. JC Krajicek’s costumes are colorful and detailed, and Steve Miller’s lighting sets the mood well. There’s also some impressive staging particularly in the battle scenes, bringing the Battle of Bosworth Field to the stage in a convincing, personal way.

St. Louis Shakespeare has brought a lot of humanity to this production. It’s easy to see Richard III, as portrayed by Shakespeare, as a monster, and while he’s clearly a villain, here he’s a decidedly three-dimensional villain. The people whose lives he manipulates, challenges and destroys are portrayed in vivid detail as well, particularly the women. It’s a fast-moving, never boring staging of this classic portrayal of of King’s ambitious, brutal ascent to the throne and his inevitable downfall. This Richard III at its most approachable, and most powerful.

Charlie Barron, cast
Photo by John Lamb
St. Louis Shakespeare

St. Louis Shakespeare is presenting Richard III at the Ivory Theatre until April 17, 2016.

Posted in St Louis Theatre | Tagged review, richard iii, st louis, st louis shakespeare, suki peters, william shakespeare | Leave a Comment »

“Bridges” at the Fox Looks, Sounds Great, But the Story is Lacking

April 9, 2016 by Michelle Kenyon ("Snoop")

The Bridges of Madison County
Book by Marsha Norman, Music and Lyrics by Jason Robert Brown
Based the Novel by Robert James Waller
Original Direction by Bartlett Sher, Direction Recreated by Tyne Rafaeli
The Fox Theatre
April 5, 2016

Elizabeth Stanley, Andrew Samonsky
Photo by Matthew Murphy
The Bridges of Madison County National Tour

The Bridges of Madison County was one of those books that everyone seemed to be reading in the early 1990’s. It has since become a well-known film, and now it’s a musical, featuring a score by one of the most celebrated modern composers, Jason Robert Brown. And the score is gorgeous, as are the production values. Unfortunately, despite a good cast, the story isn’t quite as gorgeous.

Although this was a best-selling book and a popular movie, I haven’t read the book and this version is the first adaptation I’ve seen. It tells the story of a lonely Italian woman, Francesca (Elizabeth Stanley) who married an American soldier after World War II and moved with him to his farm in Iowa. After years of living with Bud (Cullen R. Titmas) and raising their now-teenage children Carolyn (Caitlin Houlahan) and Michael (John Campione), Francesca is bored with farm life and misses Italy. When Bud and the kids take a trip to a state fair to show off Carolyn’s prize steer, Francesca stays home, where she soon meets traveling photographer Robert Kincaid (Andrew Samonsky), who has been sent by National Geographic to take pictures of the area’s famous covered bridges. He stops at Francesca’s to ask for directions to the last bridge, and the two are soon intrigued by one another, as Robert has recently traveled to Francesca’s hometown of Naples and his more worldly, less conventional outlook on life intrigues her. They begin an affair, despite the frequent calls from Bud and Francesca’s neighbor and friend Marge (Mary Callanan) to check up on her.

This affair is apparently supposed to be life-changing for both Francesca and Robert, but the way it’s presented in this musical, I don’t really buy it. Everything moves too quickly and isn’t given the proper resonance. I keep finding myself sympathizing with the nice-but-boring Bud, and with his and Francesca’s kids, who have no clue what’s going on back home while they have their own “adventures” at the fair that don’t have much bearing on the rest of the story. The music is gorgeous, representing a variety of styles from a more classical sound to country and folk, and there are some stand-out songs, some with clever settings like Marge standing in for a radio singer singing “Get Closer” as Robert and Francesca dance. There’s also the haunting “Who You Are and Who We Want to Be” and Robert’s memorable “It All Fades Away”, but despite the beautiful music, the story around the songs reads as kind of shallow, with the connection between Francesca and Robert seeming little more than superficial, and the story’s continuation after the key events making the supposedly torrid affair seem kind of pointless.

The show looks great, as well. With a positively stunning set design by Michael Yeargan, adapted for the tour by Mikiko Suzuki MacAdams and beautifully realized lighting by Donald Holder and Michael Jones, the atmosphere of the sweeping farmlands of Iowa is well-embodied. There’s also excellent, well-suited costume design by Catherine Zuber that captures the style of the time period.

The cast for this show is also excellent, led by a top-notch performance by Stanley as the disillusioned Francesca. Her presence and strong voice help to make her character relatable despite the lack of chemistry with Samonsky’s nice-looking but somewhat bland Robert. The real stand-outs in this cast are the supporting performers, especially Callanan as the nosy but supportive neighbor Marge, and David Hess as her affable, loving husband Charlie. Houlahan and Campione are also excellent as Francesca’s children, the nervous but determined Carolyn and the initially rebellious but well-meaning Michael. Titmas is also fine in the somewhat flatly written role of Bud, and there’s a strong ensemble that fills out the cast, representing townspeople and various people from Francesca’s and Robert’s personal history.

The Bridges of Madison County is a good-looking, great sounding show, but I wish it was more than that. It’s set up as a great love story but it doesn’t come across that way, especially with the lack of chemistry between the leads and the sense that most of the subplots are merely window-dressing for the unconvincing main event. I haven’t read the book so I don’t know if the story is better told in novel form, but here it’s all kind of thin. Still, it’s Jason Robert Brown, so the music is wonderful, and the songs are well-sung. There’s enough here for a reasonably interesting story, but I wish there had been more of a point to it all.

Elizabeth Stanley, Andrew Samonsky
Photo by Matthew Murphy
The Bridges of Madison County National Tour

The national tour of The Bridges of Madison County plays at the Fox Theatre until April 17, 2016.

Posted in St Louis Theatre, USA Theatre | Tagged bartlett sher, Fox Theatre, Jason Robert Brown, marsha norman, review, robert james waller, st louis, the bridges of madison county, tyne rafaeli | Leave a Comment »

“Hedwig” Entertains, Explores Identity at Stray Dog Theatre

April 8, 2016 by Michelle Kenyon ("Snoop")

Hedwig and the Angry Inch
Text by John Cameron Mitchell, Music and Lyrics by Stephen Trask
Directed by Justin Been
Stray Dog Theatre
March 31, 2016

Michael Baird, Anna Skidis Vargas
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre has transformed Tower Grove Abbey into a concert venue for their latest production, Hedwig and the Angry Inch. Introducing us to a complex central character and her dramatic story, Hedwig isn’t a traditional musical. With an immersive experience that involves audience interaction and a dynamic lead performance, this show is unique, entertaining, and challenging all the same time.

This is a well-known show that’s had a celebrated off-Broadway run and a film starring co-author John Cameron Mitchell, as well as an award-winning Broadway revival starring Neil Patrick Harris, who was then replaced by a succession of notable stars. It makes sense that a lot of actors would want to portray Hedwig, a complex and interesting character with an unusual and compelling story. Presented as a 1990s-era concert by East German-born rocker Hedwig (Michael Baird), the show explores issues of gender identity, personal fulfillment, the concept of love and soul mates, and more. Hedwig’s story is revealed as she performs a succession of autobiographical songs, through which she tells the story of her upbringing (as Hansel) in East Germany, and then her botched sex reassignment operation, her move to America and the evolution of her career as a performer, including her influence on another, now more famous, rock singer and former lover, Tommy Gnosis. There’s also Hedwig’s husband and bandmate Yitzhak (Anna Skidis Vargas), whose relationship with Hedwig is emotionally fraught, to say the least.

The casting of Hedwig is essential for a production of this show, and SDT has cast very well with Michael Baird. Baird’s emotionally charged, energetic, powerful performance is the centerpiece of this production. Hedwig’s personal journey is reflected well here, with Baird’s winning performance of stand-out songs like “Sugar Daddy”, “Wicked Little Town” and the especially memorable “Wig In a Box”. Baird is matched in intensity by Skidis Vargas as the conflicted, disgruntled Yitzhak, turning in a strong performance especially on “The Long Grift”. They are backed by a top-notch band, as well, led by music director Chris Petersen as Hedwig’s band leader, Skszp, who interacts with Hedwig throughout the performance.

The whole “rock concert” atmosphere is well-realized here. The bar is operating throughout the performance, with audience members encouraged to go up any time to order drinks. The stage set, designed by Rob Lippert, is appropriately representative of a rock music venue, with a two-level stage and scaffolding flanked by video monitors on all sides. The use of projected illustrations and animations by Ryan Wiechmann contributes style and substance to the show, as do the spectacular costumes by Eileen Engel, and the makeup and wig styles by Priscilla Case. Tyler Duenow’s lighting is also appropriately atmospheric.

This is an excellent, highly entertaining production. I did have one issue with the ending, in that the story seemed to be heading in a particular direction and didn’t actually go there, although when I read about the show online, it appears that it usually does end the way I had been expecting, although it doesn’t in this production. I’m not sure what to think about that. Overall, though, I would say this is an energetic, engrossing, well-staged and well-performed production that is very much worth checking out.

Michael Baird and Cast
Photo by John Lamb
Stray Dog Theatre

Hedwig and the Angry Inch is being presented by Stray Dog Theatre at the Tower Grove Abbey until April 16, 2016.

Posted in St Louis Theatre | Tagged hedwig and the angry inch, john cameron mitchell, justin been, review, st louis, stephen trask, stray dog theatre | Leave a Comment »

“Satchel Paige” at the Rep Tells an Important but Somewhat Unfocused Story

March 26, 2016 by Michelle Kenyon ("Snoop")

Satchel Paige and the Kansas City Swing
by Trey Ellis and Ricardo Khan
Directed by Ricardo Khan
Repertory Theatre of St. Louis
March 18, 2016

Robert Karma Robinson Photo by Jon Gitchoff Repertory Theatre of St. Louis

Trey Ellis and Ricardo Khan, the playwriting team behind the excellent Fly that was presented at the Repertory Theatre of St. Louis in 2013, have returned to the Rep with their newest work, Satchel Paige and the Kansas City Swing. Taking a look at the famous baseball pitcher’s life, as well as the times in which he lived and the events that surrounded the integration of Major League Baseball in the 1940’s, the play certainly addresses a fascinating subject. Still, despite the excellent cast and some clever staging, the result is somewhat unfocused, although still entertaining and educational.

A legendary pitcher who is considered by many to be one of the greatest ever, Satchel Paige (Robert Karma Robinson) spent most of his prime playing days in the Negro Leagues, having been barred from playing in the Major Leagues because he was black, along with many other great black players who either never got to play in the Majors, or who didn’t get to play until late in their careers. The injustice of a system of banning players simply due to the color of their skin is a major theme of this play, which centers on Paige and some of his teammates and white Major League players in 1947 and 1948, shortly after Jackie Robinson became the first black player in the Majors. While baseball is the setting for this play, and a prominent, charismatic pitcher is at its center, this play is about more than just baseball. The story follows Paige and two of his teammates on a barnstorming Negro League All-Star team, veteran Buck O’Neil (Michael Chenevert) and promising newcomer Art Young (Peterson Townsend) on a stop in Kansas City along with a team of white Major Leaguers led by star Cleveland Indians Pitcher Bob Feller (Kohler McKenzie). Feller and young Detroit Tigers rookie Franky Palmieri (Sam Wolf) join Paige and his teammates at a local boarding house run by Paige’s old friend and sometime romantic interest, Mrs. Hopkins (Vanessa A. Jones), whose aspiring jazz singer daughter Moira (Tsilala Brock) attracts the romantic attentions of both Young and Palmieri. The action is narrated by Jazzman (Eric Person), a saxophone-playing philosopher who comments on the events of the day and of the play.

This play tries to cover a great many issues regarding the integration of baseball, what it was like to live in a society where segregation was the rule, the obvious sense of privilege that benefited the white players no matter how well-meaning they may have been, and the overall injustice of a racist system. Paige is a compelling, fascinating figure, with charm, talent, and a great deal of wit, all portrayed with marvelous energy and style by Robinson. The play’s problem, though, is that it doesn’t seem to be sure whether it wants to be primarily about Paige or about his friends and associates. Most of the play’s action takes place at the boarding house and revolves around the borderline soapy triangle between the ambitious Young and the cocky, somewhat smarmy and entitled Palmieri. Wolf and Townsend are fine in their roles, as is Brock as the naive Moira, but their story seems to be a distraction much of the time. Jones, as Mrs. Hopkins, and Chenevert, as O’Neil, give standout performances as key figures in Paige’s life, and as voices of wisdom, hope, and occasionally regret. McKenzie is as good as can be in the underwritten role of Feller, and Person is a strong presence with his virtuoso saxophone playing in various jazz styles as Jazzman. Paige should probably be the central figure here, and the play starts and ends by focusing on him, but despite the important and challenging issues that are presented, the play is mostly a lot of talking and the story gets a little muddled in the middle. Still, it’s a well-acted and well-cast production.

The staging in the baseball scenes is clever, and scenic designer John Ezell has provided a suitable backdrop for the action, along with excellent lighting by Victor En Yu Tan and memorable projections by Rocco DiSanti. Lauren T. Roark’s costumes are also superb, with excellent attention to detail in the baseball uniforms as well as the contemporary styles of the 1940’s. The staging is dynamic in the baseball scenes, although everything is more static at the boarding house.

Satchel Paige and the Kansas City Swing introduces its audience to an important and legendary figure in the history of baseball and of America itself. Although the sense of time and place is well-realized and the performances are strong, I still found myself wishing the story was a little more cohesive, and that the focus on Paige was maintained more clearly. It seems more like a work in progress than a finished play, in contrast to the truly astounding Fly by the same creative team. Still, the excellent performances and strong production values, along with its important subject matter, make this a play worth seeing.

Kohler McKenzie, Vanessa A. Jones, Peterson Townsend, Michael Chenevert, Robert Karma Robinson Photo Jon Gitchoff Repertory Theatre of St. Louis

Satchel Paige and the Kansas City Swing is being presented by the Repertory Theatre of St. Louis until April 10, 2016.

Posted in St Louis Theatre | Tagged repertory theatre of st louis, review, ricardo khan, satchel paige, satchel paige and the kansas city swing, st louis, trey ellis | Leave a Comment »

New Jewish Theatre’s Exquisitely Acted “Old Wicked Songs” is a Must-See

March 25, 2016 by Michelle Kenyon ("Snoop")

Old Wicked Songs
by Jon Marans
Directed by Tim Ocel
New Jewish Theatre
March 17, 2016

Jerry Vogel, Will Bonfiglio
Photo by Eric Woolsey
New Jewish Theatre

Old Wicked Songs is a story of a teacher and a student who are ostensibly here to study music, but who learn much more than that as their relationship progresses. It’s a play I hadn’t seen before, but am very glad now to have been given that opportunity by means of the current production from New Jewish Theatre. It’s a superbly cast production, and it’s not to be missed.

The story takes place at the studio of music professor Josef Mashkan (Jerry Vogel) in Vienna, Austria in 1986. A young American piano student, Stephen Hoffman (Will Bonfiglio) has just arrived in the country with the intention of studying to become an accompanist. Stephen isn’t happy when he finds out that Mashkan isn’t the piano professor, but a singing teacher, and Stephen must study singing for three months before he can begin his piano instruction with the professor from whom he had wished to learn. The initially defensive, guarded Stephen is suspicious of the more demanding Mashkan at first, and this first meeting begins a series of instruction sessions and a relationship that will eventually change the lives of both men, who both have secrets they wish to hide. They’re studying Robert Schumann’s song cycle Dichterliebe, with lyrics by the poet Heinrich Heine. Through the course of playing, singing, and discussing the songs and their meanings, as well as events in their own lives and the history of Vienna, Austria, and neighboring Germany, the two men learn more about each other and learn that there is more to both of them than they had initially thought. This all takes place against a backdrop of political controversy in Austria as Kurt Waldheim, whose military service in the German army during World War II was being called into question internationally. Austria’s attitudes toward its own history involving the Nazi regime, as well as the memory of the Holocaust and its effect on those who have survived as well as the generations born after the war, become major issues in the play, as both Stephen and Mashkan’s personal stories eventually reveal.

This is an intensely personal play, and the love of music and poetry pervades it. The relationship between music and emotion, as well as joy and sadness, is emphasized by Mashkan, and both his life and Stephen’s directly illustrate that relationship as the story unfolds. The two actors here are perfectly cast. Vogel portrays the joy and the sadness of Mashkan’s life, as well as his deep love of music, with vivid clarity in a sensitive, engaging and at times heartbreaking performance. Bonfiglio is equally brilliant as Stephen, whose emotional journey throughout the play is clearly portrayed on Bonfiglio’s expressive face. Both actors display strong voices, as well, singing the songs with energy and passion, in English as well as German as the story’s progression necessitates.

As usual for New Jewish Theatre, the technical aspects of this production are also excellent. The set by Dunsi Dai is richly detailed, bringing a sense of authenticity to this representation of a music professor’s studio in an aging building. The costumes, by Michele Friedman Siler, suit the characters well, and Stephen’s clothes in particular serve to reflect his character’s growth throughout the course of the play. There’s also strong, atmospheric lighting by Maureen Berry and excellent sound design by Robin Wetherall.

This is a play about a student and a teacher, but it’s about a lot more than that. It’s about a love of music and song, and also about joy, regret, secrets and the importance of communication, as well as a person’s relationship with culture and history. It’s an expertly crafted play that presents characters with well-realized life stories that are memorably portrayed by two excellent actors at their finest. It’s the best production I’ve seen in St. Louis so far this year.

Jerry Vogel, Will Bonfiglio
Photo by Eric Woolsey
New Jewish Theatre

New Jewish Theatre is presenting Old Wicked Songs at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until April 3, 2016.

Posted in St Louis Theatre | Tagged jon marans, new jewish theatre, old wicked songs, review, st louis, tim ocel | Leave a Comment »

“If/Then” at the Fox Presents an Intriguing, If Not Always Memorable, Dilemma

March 18, 2016 by Michelle Kenyon ("Snoop")

If/Then
Music by Tom Kitt, Book and Lyrics by Brian Yorkey
Directed by Michael Greif
The Fox Theatre
March 15, 2016

Jackie Burns (center) and Cast of If/Then
Photo by Joan Marcus
If/Then National Tour

I think most people have “what if” moments in their lives. Maybe it’s that class in college that you wish you had taken, or that person whose invitation you wish you had accepted. How would your life have been different if you had made one simple choice differently? The musical If/Then, currently on stage at the Fox Theatre, takes questions like that and makes a story out of them–or more precisely, two stories running concurrently. It’s an intriguing concept that’s been given an inventive production, based on the Broadway staging. It’s not always easy to follow, but it’s an impressive production, and extremely entertaining.

If/Then‘s central figure is Elizabeth (Jackie Burns), who is seen wondering about a particular day in New York City’s Central Park. Having just returned to the city to start over after a failed marriage and 12 years out West, Elizabeth is presented with a dilemma–two friends, and which one to follow. Does she stay in the park with her new neighbor Kate (Tamyra Gray), or does she leave to join her former college boyfriend Lucas (Anthony Rapp) in a protest he’s organizing? The show presents both scenarios side-by-side, with Elizabeth going by the nickname “Liz” when she stays with Kate, and by “Beth” when she goes with Lucas. The name difference actually helps the audience to follow the plot, as Elizabeth’s life verges in potentially confusing directions, and the two timelines both feature some of the same characters but also others who are unique to one particular path. Most importantly in the “Liz” plot is Josh (Matthew Hydzik), a doctor just returned from a military tour overseas, who becomes her love interest in that plot while in the “Beth” plot, she accepts a high-powered city planning job and becomes involved in more complicated personal relationships. There isn’t much else I can say about the story that won’t spoil it, but I will say that the fates of Elizabeth’s friends are also affected by the divergence in her own paths, sometimes for the better and sometimes not.

This isn’t an entirely original idea. There have been a few movies and stories with similar concepts, but this one has the team responsible for one of my favorite modern musicals, Next to Normal, behind it, and that definitely got my attention. Still, the music here isn’t as memorable as it is in Next to Normal, and the story can be hard to follow at times. I can’t even name many of the songs after seeing the show without having to consult the program. The show also seems to be suggesting a “moral” that is somewhat problematic, although explaining that in too much detail would spoil the ending. I’ll just say that one of the endings seems happier based on whether love or career is put first in Elizabeth’s life.

The casting is solid, with strong performances from the leads and the ensemble. Burns is a likable protagonist, with a strong, belty voice that’s occasionally too reminiscent of her Broadway and tour predecessor Idina Menzel. Still, Burns portrays both the “Liz” and “Beth” sides of Elizabeth’s story well, and her chemistry with Hydzik’s amiable, charming Josh is particularly convincing. Gray is full of energy and confidence as Kate, and she’s supported well by Janine DiVita as Kate’s girlfriend, Anne. Anthony Rapp, reprising his Broadway role as Lucas, is strong in both timelines, one of which gets him a kind doctor boyfriend named David (Marc Delacruz). Lucas, in fact, probably has the most significant change depending on the timeline, and Rapp portrays these differences well. There’s also a strong ensemble portraying various characters in support of both timelines.

Staging-wise, this show makes strong visual impression, but also somewhat generic. The set, designed by Mark Wendland, is a modular collection of beams, bridges, and modular set pieces that move about as needed, with a great use of projections designed by Peter Nigrini and Dan Scully, especially in the suggestion of moving Subway trains. The park setup is more “general park” than Central Park, really, and the costumes, by Emily Rebholz, are suitably New York-ish. It’s a somewhat generalized version of New York that works for the show, but isn’t particularly distinctive.

Overall, I would say If/Then is interesting and entertaining, although it tends to be a little confusing as well. It’s not as brilliant or memorable as Next to Normal, but it’s a good concept and generally well presented. Most of all, the great cast is what makes this show worth seeing. Your life probably won’t change radically if you choose not to see it, but it if you do, it would be a good choice.

Tamyra Gray, Jackie Burns, Anthony Rapp and cast
Photo by Joan Marcus
If/Then National Tour

The National Tour of If/Then runs at the Fox Theatre until March 27, 2016.

Posted in St Louis Theatre, USA Theatre | Tagged Brian Yorkey, Fox Theatre, if/then, michael greif, review, st louis, Tom Kitt | Leave a Comment »

Well-Cast “Molly’s Hammer” Teaches a Personalized History Lesson at the Rep Studio

March 18, 2016 by Michelle Kenyon ("Snoop")

Molly’s Hammer
by Tammy Ryan
Based on the book Hammer of Justice by Liane Ellison Norman
Directed by Seth Gordon
Repertory Theatre of St. Louis, Studio
March 11, 2016

Joe Osheroff, Nancy Bell
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

The Cold War was tense time in American history, and it’s one I remember first-hand, at least to a degree. The threat of nuclear war and the generalized looming sense of dread it created is something I remember well from my childhood and teen years. Molly’s Hammer, a new play currently being presented at the Rep Studio, focuses on the anti-nuclear protest movement that developed as a result of this general threat of war to which the stockpiling of nuclear weapons contributed. Focusing on one key figure in this movement, the play seeks to present a personalized account of this movement and, for the most part, it succeeds.

Molly Rush (Nancy Bell) was a Pittsburgh area housewife who had been involved in various Catholic-led activist movements. This three-person play focuses on her increasing involvement in the opposition to nuclear weapons and her involvement with a protest action led by Catholic priest Daniel Berrigan (Kevin Orton, who plays many roles in this production), along with his brother and others. They formed a group known as the Plowshares Eight, and their protest action at a Pennsylvania General Electric plant in 1980 serves as the central focus of this production, including the events leading up to the action and its aftermath. The play also highlights the relationship between Rush and her husband Bill (Jose Osheroff), who loves Molly but isn’t sure what to think about her increasingly activist ways, especially when the threat of imprisonment and separation from him and their children becomes more and more likely.

This is an ambitious, inventively structured play, with two performers playing one role each and one performer (Orton) performing a variety of roles with no costume changes to indicate the variations of character. In fact, Orton’s performance is the most impressive simply because it depends so much on body language and line delivery. His portrayals of everyone from Daniel Berrigan to the Rushes’ various sons, daughters, and other family members as well as other activists, a judge, a female prison guard, and more are made convincing due to Orton’s clarity of performance. Bell turns in a fine performance as Molly, as well, portraying her determination and zeal for her cause in a thoughtful manner, and Osheroff is equally convincing as the conflicted but loving Bill, whose mission to convince Molly to temper her activist tendencies doesn’t go exactly as planned.

The structure of this play is at times confusing and also a little on the talky side. There’s a lot of talking about things that are about to happen, and a generally linear timeline that occasionally gets interrupted with a flashback, although there aren’t enough of these flashbacks to justify them, and they come across as interfering with the forward progress of the plot rather than augmenting it. Also, the staging can get cluttered with stagehands running on and off stage to change the scene, as Gianni Downs’ scene design mostly consists of a generalized backdrop with set pieces that are moved into place as needed, and sometimes these quick scene changes can come across as frantic and distracting. Aside from the set, there’s a good use of lighting and projections by Mark Wilson, and authentic looking early 1980’s costumes by Lou Bird.

Molly’s Hammer is an intriguing play about an important era of American History and a protest movement that generally isn’t talked about as much as others. Its a thought-provoking play led by an amiable cast, although the staging is sometimes muddled. Still, the performances and generally authentic evocation of the era make this show entertaining, educational, and worth seeing.

Nancy Bell, Kevin Orton
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Molly’s Hammer runs at the Repertory Theatre of St. Louis’s Studio Theatre until March 27, 2016.

Posted in St Louis Theatre | Tagged hammer of justice, liane ellison norman, molly's hammer, rep studio, repertory theatre of st louis, review, seth gordon, st louis, tammy ryan | Leave a Comment »

New Line’s “American Idiot” Rocks the Marcelle

March 12, 2016 by Michelle Kenyon ("Snoop")

American Idiot
Music by Green Day, Lyrics by Billie Joe Armstrong
Book by Billie Joe Armstrong and Michael Mayer
Musical Arrangements and Orchestrations by Tom Kitt
Directed by Scott Miller and Mike Dowdy
New Line Theatre
March 4, 2016

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

American Idiot was an album first, and then it was a musical. Now, it’s on stage at the Marcelle Theatre in Grand Center in a big, loud, angry, and extremely thoughtful production from New Line Theatre. With the first-rate singing that New Line is known for, as well as a stellar cast and striking physical production, American Idiot makes a strong impression with its story of displacement and confusion in post-9/11 America, underscored by the music of Green Day.

This is essentially the story of three young men and their quests for meaning and fulfillment amidst the disillusionment of their suburban existence. Johnny (Evan Fornachon), Tunny (Frederick Rice), and Will (Brendan Ochs) make a plan to escape to the city to seek adventure and a better life, but Will’s dream is immediately derailed when his girlfriend Heather (Larissa White) announces she’s pregnant, meaning Will stays home while his friends head off to New York. Once in the city, Johnny and Tunny take different paths. Johnny finds himself torn between the enticement of drugs personified by the charismatic St. Jimmy (Chris Kernan), and love with a girl he meets who is only referred to as Whatsername (Sarah Porter). Tunny catches onto a patriotic dream and joins the military, being sent overseas where he eventually finds that the reality of war doesn’t live up to its promise. Throughout the story, the loud, punk rock beats of Green Day drive the story of the contrasting lives of these three friends.

What’s particularly striking about this production is the staging, although it does have its drawbacks as well. The Marcelle’s black box theatre has been arranged so that the action takes place on a wide plane, with Rob Lippert’s vividly decorated set serving as a backdrop. Staging the action at various levels and in designated areas of the stage helps to distinguish the three main characters’ stories, but it’s also so spread out that it’s easy to miss events that happen on either end of the stage, depending upon where you’re sitting. I would advise sitting in the middle if at all possible. The costumes by Sarah Porter are excellent as well, suiting the characters well and ranging from the everyday clothes of the young protagonists to the more striking styling of characters like St. Jimmy. Kenneth Zinkl’s lighting is also effective in achieving the appropriate mood of the production especially in the more stylized fantasy sequences. And directors Miller and Dowdy have staged the show well, with striking synchronized movement on songs like “Holiday”, “Before the Lobotomy”, and the more melancholy “Wake Me Up When September Ends” and “21 Guns”.

This isn’t a perfect script, but the production makes the most of it. I’m mostly disappointed that this is such a male-centered story in which most of the female characters only seem to serve as figures in the men’s journeys, and except for Heather, they don’t even have real names. Still, the story is memorable and a strong realization of the anger, confusion, and occasional efforts at hope that characterize these characters’ lives in a world of competing images, promises, and propaganda. It’s the dynamic staging, the expertly played music by New Line’s excellent band conducted by Sue Goldford, and the as always stunning singing that give life to this highly emotional, affecting musical.

As usual, New Line has assembled a superb ensemble, and every cast member is in the moment every minute on stage. The three leads are well-cast, with Fornachon’s angry Johnny, Rice’s haunted Tunny and Ochs’s dejected and disenchanted Will serving as ideal representations of the themes portrayed here. All three have great rock voices as well, especially Rice. There’s also strong support from Kernan’s hypnotic St. Jimmy, Porter’s earnest Whatsername, White’s conflicted, strong-voiced Heather, Kevin Corpuz as the personification of military glory, the Favorite Son, and Sicily Mathenia as Tunny’s nurse and fantasy muse, the Extroardinary Girl.

American Idiot is a gritty, high powered, emotionally charged rock opera that presents a compelling picture of the lives of three young men on a journey for fulfillment in difficult times. It’s definitely not for kids, but for adults and older teens, this is a show that provides a lot to think about. It presents a striking auditory and visual tableau of life in early 2000’s America, with a soundtrack by a band that helped define the cultural atmosphere of that era.

Frederick Rice, Brendan Ochs, Evan Fornachon and cast
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting American Idiot at the Marcelle Theatre in Grand Center until March 26, 2016.

Posted in St Louis Theatre | Tagged american idiot, billie joe armstrong, green day, michael mayer, mike dowdy, new line theatre, review, scott miller, st louis, Tom Kitt | Leave a Comment »

A “Beautiful” Celebration of a Legendary Artist at the Fox

February 26, 2016 by Michelle Kenyon ("Snoop")

Beautiful, the Carole King Musical
Book by Douglas McGrath
Words and Music by Gerry Goffin and Carole King, Barry Mann and Cynthia Weil
Directed by Marc Bruni
The Fox Theatre
February 23, 2016

Curt Bouril, Liam Tobin, Abby Mueller, Ben Fankhauser, Becky Gulsvig Photo by Joan Marcus Beautiful National Tour

Curt Bouril, Liam Tobin, Abby Mueller, Ben Fankhauser, Becky Gulsvig
Photo by Joan Marcus
Beautiful North American Tour

Carole King is a living legend. First as a songwriter and then as a singer-songwriter, she made a name for herself in the music industry with many memorable hits. Even today, many people who don’t recognize her name will know her songs. Beautiful, The Carole King Musical tells the story of how she came to fame, as well as giving us a picture of the developing music scene in the 60s and 70s. The show was a big hit and is still running on Broadway, and now the North American Tour has brought this vibrant show to St. Louis, with an excellent cast and a whole lot of energy.

Although I’m generally skeptical of “jukebox” musicals, I had heard great things about this one, as well as comparisons to one of the best of this type of show, Jersey Boys. Beautiful has a lot in common with Jersey Boys, actually, in terms of its having a strong book telling the story of several important figures in the history of music. The tone is even more upbeat and optimistic, however, although it does cover some difficult times in King’s life as well. King (Abbey Mueller) is obviously the central figure, but this isn’t only her story. Her life entwines closely with that of her college sweetheart, songwriting partner, and eventual husband Gerry Goffin (Liam Tobin), as well as those of songwriting colleagues, friends, and friendly rivals Cynthia Weil (Becky Gulsvig) and Barry Mann (Ben Fankhauser). The story follows King from when she was still a teenager living with her mother, Genie Klein (Suzanne Grodner), to her early days as a songwriter for publisher Don Kirshner (Curt Bouril), to her heyday as part of a songwriting duo with Goffin, to marital struggles and changes in the country’s musical tastes, and finally to her rise in fame as a singer, culminating in the release of her most famous album, Tapestry.

The story is told in generally linear format, after a small prologue scene set during King’s Carnegie Hall concert that also ends the show. The story is punctuated with Goffin/King songs and Mann/Weil songs as well as a few other popular songs of the era. Groups like the Drifters, the Shirelles, and the Righteous Brothers are represented here as well, telling the story of King’s career and rocky partnership with the charming but unpredictable Goffin. There’s also a story of the developing relationship of Mann and Weil as a contrast to King and Goffin’s tumultuous marriage. The song performances are a highlight, with famous hits such as “Will You Love Me Tomorrow” and “One Fine Day” given dramatic settings that serve to advance the plot as well as celebrate that period in music history. It’s fascinating to watch as the songs are developed, and especially as King introduces some of her more well-known solo hits later in the show, such as “It’s Too Late”, “Beautiful”, and an especially endearing staging of “You’ve Got a Friend”.

The casting of King is essential, and Abby Mueller is an ideal choice for the role. With a voice remiscent of King’s without sounding like an impression, and an engaging personality, warmth and energy, Mueller plays King’s growth from a naive young aspiring songwriter to a more seasoned artist and performer extremely well. She carries the emotional weight of her personal story with admirable truth, as well. She’s well-matched with Tobin as the charismatic, increasingly troubled Goffin. Gulsvig as Weil is a standout, with a strong voice and spunky personality, and Fankhouser is in excellent voice as Mann. There are also winning performances from Bouril as the supportive music publisher Kirshner, and Grodner as King’s stubbornly devoted mother. There’s a strong ensemble as well, playing a variety of roles from famous musical acts to session players and more.

The time and place, as well as the transition between the various periods of King’s life, is evoked well by means of Derek McLane’s versatile set, with set pieces that slide on and off stage as needed to represent King’s various homes, the music publishing office, Carnegie Hall and beyond. There are also colorful, detailed costumes by Alejo Vietti, ranging from every day 50’s, 60’s and 70’s fashions to the more glamorous, glitzy costumes of the various performers. The lighting by Peter Kaczorowski effectively sets the mood and scene, as well.

The formative years of popular music are well-represented in this energetic, well-constructed and impressively staged musical. It’s about Carole King, and much of the show’s appeal centers on Mueller’s outstanding portrayal, but there’s a lot more here as well. It’s a story not only of music makers, but of the music itself, and the music is gloriously performed and presented. It’s a brilliant celebration of the life and work of a well-known, much-lauded singer and songwriter.

Abby Mueller
Photo by Joan Marcus
Beautiful North American Tour

The North American Tour of Beautiful, the Carole King Musical runs at the Fox Theatre until March 6, 2016.

Posted in St Louis Theatre, USA Theatre | Tagged barry mann, beautiful the carole king musical, carole king, cynthia weil, douglas mcgrath, Fox Theatre, gerry goffin, marc bruni, review, st louis | Leave a Comment »

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