Posts Tagged ‘alan menken’

Energetic “Newsies” Take the Stage by Storm at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on August 2, 2024| Leave a Comment »

Disney’s Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Steve Bebout
Choreographed by Lindsay Joy Lancaster
STAGES St. Louis
August 1, 2024

Daniel Marconi (center) and Cast
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is continuing its 2024 season with a vibrant, energetic production of a popular modern musical inspired by a real historical event. Disney’s Newsies began as a movie in 1992, but the stage version that opened on Broadway in 2012 has become a big international hit, and this is the fourth production of the show I have seen. At STAGES, the familiar characters, music, and high-energy dancing are all here, but slightly scaled down for the smaller space, and it works especially well, bringing new attention to aspects of the story and characters, and presenting the story in an approachable and thoroughly entertaining manner. 

The now-familiar story is highly fictionalized from actual events, though it is based on an actual strike of newspaper carriers in New York City in 1899. Here, the hero is Jack Kelly (Daniel Marconi), an orphan and “newsie” who escaped from “the Refuge”, a  rough and abusive home for “troubled” youth.  He tells his friend Crutchie (Matthew Cox) about his dreams of moving out west, but before that can happen, the two and their fellow paper carriers find themselves in the midst of a conflict with Joseph Pulitzer (Christopher Gurr), who suddenly raises the price that the newsies pay for the papers they deliver, making it hard for them to earn enough money to live on. New Newsie Davey (Richard Spitaletta) and his kid brother Les (Davin Wade) help inject some energy into the group as the idea for a strike is brought up, and Davey becomes the “brains” of the operation while Jack is the charismatic “face”. Meanwhile, the newsies’ cause is boosted by aspiring young reporter Katherine (Taylor Quick), who hopes to become a more serious journalist and not be stuck in the “girl reporter” role of writing for the Society page. Jack and Katherine develop an attraction, but Katherine has a secret she’s not sharing that could threaten their relationship. As the newsies fight the establishment, led by Pulitzer and his allies, they are aided by local entertainer Medda Larkin (Anita Michelle Jackson), for whom the talented artist Jack paints backdrops and who lets the newsies use her theatre for a union rally. As the conflict heats up and the tensions rise, the newsies band together for their cause and there’s a lot of energetic singing, athletic dancing, and a persistent quest for hope against difficult odds. 

This show usually features a large cast, and the group here at STAGES is enough to fill their smaller stage, but noticeably not as numerous as other casts I’ve seen. Still, what they lack in numbers, they make up for in sheer enthusiasm, presence, and energy. Marconi is excellent as the charismatic dreamer Jack, who has to fight his own sense of inadequacy and embrace his potential and his found family. Marconi’s got a strong voice and plenty of charisma, and he works well with the also excellent Cox as the mistreated but hopeful Crutchie and Spitaletta as the clever, enterprising Davey. He also has strong chemistry with Quick’s gutsy, strong-voiced Katherine.  The rest of the newsies are also strong, with impressive dance skills for some truly thrilling production numbers featuring Lindsay Joy Lancaster’s spirited choreography. There are also memorable performances from young Wade as the plucky, outspoken Les, Jackson as the sympathetic, kind Medda, John Flack as the creepy Snyder, who runs the Refuge; and especially Gurr ,who manages to provide some depth and ferocity to the role of Pulitzer, who can often come across as something of a cardboard villain. 

The production looks great, as well, with a dynamic set by Anne Beyersdorfer that features many moving pieces including scaffolding, beams, pillars and rails reflecting the late 19th Century city vibe, backed by Saki Kawamura’s memorable projections. There are also colorful, detailed costumes by Brad Musgrove that fit the characters and atmosphere well. There’s also vibrant lighting by Sean M. Savoie and sound design by Mike Tracey that works well for the most part, despite some mixing issues in the first part of Act One that can make the singing harder to hear.

This staging of Disney’s Newsies is a lot of fun! It’s the same story you might already know, but scaled to its space with thoughtful staging a a great deal of energy. It’s a story that can resonate with several generations. STAGES is continuing its season with style, talent, and infectious enthusiasm. 

Cast of Disney’s Newsies
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Disney’s Newsies at the Kirkwood Performing Arts Center until August 25, 2024

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The Muny’s Energetic “Mermaid” Brings Out the Fun Under the Sea

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 13, 2024| Leave a Comment »

The Little Mermaid
Music by Alan Menken, Lyrics by Howard Ashman & Glenn Slater, Book by Doug Wright
Directed by John Tartaglia
Choreographed by Patrick O’Neill
The Muny
July 10, 2024

Savy Jackson, Fergie L. Phillippe, and Cast
Photo by Phillip Hamer
The Muny

The Muny is taking its audience “Under the Sea” again, for its third staging of Disney’s The Little Mermaid. As this year’s “family show”, this production takes theatregoers on a colorful musical adventure in a vibrant staging directed by Muny veteran John Tartaglia. On the big Muny stage, the sea is brought to life by a strong cast and dazzling production values, including especially inventive usage of flying effects and puppetry.

The story is well-known to anyone who is familiar with the original animated film, its more recent live-action adaptation, or the stage show. The title character is Ariel (Savy Jackson), a mermaid and the daughter of Triton (Ben Davis), the King of the Sea. Noted for her remarkable voice, Ariel would rather be spending time on the ocean’s surface than attending concert rehearsals with court composer Sebastian the crab (Fergie L. Phillippe). There, she and her fish friend Flounder (Leia Rhiannon Yogi) meet with the enterprising seagull Scuttle (Jen Cody), who offers inventive descriptions of the discarded human artifacts Ariel finds to add to her collection. Soon, she meets Prince Eric (Michael Maliakel), who would rather be spending time at sea than becoming king. Of course, Ariel falls in love with him, saves his life after a shipwreck, and ends up making a deal with the devious Sea Witch Ursula (Nicole Parker)–trading for voice for legs with the stipulation that she must get Eric to kiss her within three days, or else she is doomed to forfeit her soul. Thankfully, Sebastian, Flounder, and Scuttle are there to help, but Ursula’s henchmen, the electric eels Flotsam and Jetsam (Kennedy Kanagawa, Adam Fane) hang around in an effort to thwart their plans. Some new songs by Alan Menken and Glenn Slater have been added to the show along with film favorites by Menken and Howard Ashman,  including the popular “Under the Sea”, “Part of Your World” and “Kiss the Girl”.  The book by Doug Wright has added some backstory for Triton and Ursula, as well as Prince Eric and his guardian Grimsby (Rich Pisarkiewicz). The scenes between Ariel and Eric are extended, as well, and the ending plays out a bit differently than in the original film. Overall, it’s the story audiences will recognize, brought to life on the large Muny stage with vibrancy and a good deal of energy, with thoughtful staging by director Tartaglia and enthusiastic choreography by Patrick O’Neill, backed by a terrific Muny Orchestra led by music director Michael Horsley.

This isn’t just the Muny’s third production of this show–it’s also the third one I’ve seen, having attended both previous Muny versions. For many in the audience, though–especially the many children attending–this is a new experience, so too much comparing isn’t all that useful. For me, though, it’s interesting to notice the similarities–especially to the last staging in 2017, where some of the costumes, and especially the look and operation of Ursula’s costume, is essentially identical, with Parker’s Sea Witch surrounded by tentacles each played by a different ensemble member. The use of puppetry and flying, however, is used even more in this production than either of the previous two, with kudos to Puppet Kitchen International, Inc. for the puppets and ZFX for the flying (well, swimming, really). This is a great looking production, with a vivid sense of color and variety in the various sea creatures and land dwellers. The costumes by Robin L. McGee are colorful and whimsical, and Ann Beyersdorfer’s detailed set is eye-catching, augmented by Katherine Freer’s fun video design and atmospheric lighting by Jason Lyons. 

As for the cast, it’s especially strong, led by the delightful Jackson as Ariel, with all the likable personality and excellent vocals required for the role. Maliakel as Eric is also memorable, displaying a great voice as well, and fantastic chemistry with Jackson, making their scenes together a highlight of the production. There are also memorable turns from Davis as the loving but occasionally overbearing Triton and Parker as the gleefully villainous Ursula, backed by marvelously sneaky performances form Kanagawa and Fane as the devious Flotsam and Jetsam. Phillippe makes a great Sebastian, as well, with excellent support from the clear-voiced Yogi as Flounder and the delightfully comic Cody as the tap-dancing Scuttle. There’s a strong ensemble in support, with a good deal of enthusiasm on big numbers like “Under the Sea” and “Kiss the Girl”. 

Overall, this is The Little Mermaid that audiences will expect, with a good deal of energy, heart, and memorable visuals. If I have to sum it up in one word, it would be “fun”. It’s a musical treat for all ages from the Muny.

Michael Maliakel, Savy Jackson, and Cast
Photo by by Phillip Hamer
The Muny

The Muny is presenting Disney’s The Little Mermaid in Forest Park until July 16, 2024

This review was originally published at kdhx.org

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The Muny Finishes Stellar Season with Joyous “Sister Act”

Posted in St Louis Theatre, tagged , , , , , , , , , on August 16, 2023| Leave a Comment »

Sister Act
Music by Alan Menken, Lyrics by Glenn Slater
Book by Cheri Steinkellner & Bill Steinkellner
Additonal Book Material by Douglas Carter Beane
Directed and Choreographed by Denis Jones
The Muny
August 15, 2023

Cast of Sister Act
Photo by Phillip Hamer
The Muny

The Muny is ready to boogie! Audiences should be ready, as well, because the closing entry in their wonderful 2023 season is the joyful, disco-filled Sister Act, which fills that big stage with abundant energy, style, and fun. The cast is great, the production looks fabulous, and the audience seems to love every  minute. 

The stage version of this show essentially follows the plot of the popular 1992 film starring Whoopi Goldberg, but with a few important differences. First, this version has a full musical score with songs by Alan Menken and Glenn Slater, as opposed to the classic 1960s songs of the film. Also, the setting has been adjusted so that the story now takes place in late 1970’s Philadelphia, where Deloris Van Cartier (Bryonha Marie) aspires to become a singing sensation, and her chosen genre is disco. When she unexpectedly witness a murder committed by her crime boss/nightclub owner boyfriend Curtis Jackson (Alan H. Greene), Deloris turns to the police, and former high school classmate, Officer Eddie Souther (James T. Lane), who arranges for Deloris to hide out in the convent at Queen of Angels Church, where she takes on the guise of “Sister Mary Clarence”.  Although the more traditionalist Mother Superior (Mamie Parris) is suspicious of this brash new addition to her ranks, Deloris soon builds a rapport with the other nuns, including the perky Sister Mary Patrick (Katy Geraghty) and the shy postulant Mary Robert (Meredith Aleigha Wells), along with the snarky Mary Lazarus (Madeleine Doherty). Before too long, Deloris has the nuns’ choir singing the rousing disco tunes that she loves, drawing an enthusiastic following in the once-struggling parish, while continuing to frustrate the Mother Superior and causing worry for her and  Eddie, who are concerned that the determined Curtis and his cronies TJ (Darron Hayes), Pablo (Brandon Espinoza), and Joey (Rob Colletti) will find her and put the whole convent in danger. 

At the Muny, as staged and choregraphed by Denis Jones, this is a fast-paced, tuneful, and ultimately heartfelt show that celebrates friendship and human connection, with the uplifting disco, pop, R&B, and gospel-influenced score providing a memorable soundtrack for the story. The cast is, in Deloris’s words “Fabulous, Baby”, led by Bryonha Marie as an engaging, determined but vulnerable Deloris, with a great voice and excellent comic abilities. Parris is also excellent as the initially stern but well-meaning Mother Superior, with an equally stunning voice. The supporting cast is also strong, with memorable turns by Wells as the shy young Mary Robert, who learns to assert herself and raise her strong, powerful voice; and Garaghty as the endearingly plucky Mary Patrick. Lane is also excellent as Eddie, whose chemistry with Deloris is strong; and Greene is suitably menacing as the sinister Curtis, with Hayes, Espinoza, and Colletti getting some funny moments as Curtis’s henchmen. There’s also a fun turn from Thom Sesma as Monsignor O’Hara, who becomes a surprisingly enthusiastic supporter of the choir as they spread the “Sunday Morning Fever” in their performances at the church. The leads are joined by fantastic ensemble, as well, including the Muny Kids and Teens, as the energetic production numbers fill the Muny stage with enthusiastic energy and tuneful, disco-infused joy.

The show also looks great, with a colorful, versatile set by Edward E. Haynes, Jr. that makes excellent use of the Muny’s turntable, and dynamic video design by Kevan Loney. There are also eye-catching costumes Leon Dobkowski and memorable wig design by Kelley Jordan. The lighting by Shelley Loera is also spectacular, adding dazzle to the proceedings, and there’s also a great Muny Orchestra led by music director Michael Horsley.

Sister Act is a glorious, energetic ending to a spectacular lineup of shows for the Muny. With a rousing, fittingly Muny-style finale that pulls out all the stops, and a fun, heartwarming story led by a supremely talented cast and crew, this production is a resounding success. I’ve been attending Muny shows since 2004, and as far as I’m concerned, this has been this best season yet. I’m looking forward to what they have in store for next year. 

Cast of Sister Act
Photo by Phillip Hamer
The Muny

The Muny is presenting Sister Act in Forest Park until August 20, 2023

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The Muny’s “Little Shop” Impresses with Performances, Technical Wizardry

Posted in St Louis Theatre, tagged , , , , , , , , , on July 27, 2023| Leave a Comment »

Little Shop of Horrors
Book and Lyrics by Howard Ashman, Music by Alan Menken
Based on the film by Roger Corman, Screenplay by Charles Griffith
Directed by Maggie Burrows
Choreographed by William Carlos Angulo
The Muny
July 26, 2023

Cast of Little Shop of Horrors
Photo by Phillip Hamer
The Muny

The Muny’s excellent 2023 season is continuing this week with the modern classic horror/comedy musical Little Shop of Horrors. It’s a show I’ve seen before in various productions, including the popular 1986 film and the last Muny production in 2011. This year, the little show is bigger and bolder than ever with some truly remarkable production values, strong direction, and a first-rate cast. It’s not a large-cast show and it’s not very long in running time, but there’s a lot of talent on that huge Muny stage, and this production makes the most of the tone, setting, and excellent score.

This show brings the “Skid Row” neighborhood to the stage with flair, by means of Kristen Robinson’s well-crafted, detailed set and Greg Emetaz’s eye-catching video design. Based on a 1960s b-grade horror film, it takes us into the world of nerdy, neglected Seymour (Robin de Jesús), who works at a rundown flower shop owned by Mr. Mushnik (Michael McGrath) and pines after his co-worker Audrey (Pattie Murin), who is in an abusive relationship with a sadistic dentist, Orin (Ryan Vasquez, who plays several roles). When Seymour’s new “strange and unusual plant”, that he’s dubbed Audrey II (manipulated by Ryan Patton, voiced by Nicholas Ward) starts demanding to be fed human blood, this starts a chain of events that first seem to benefit Seymour, but soon threaten him, those he loves, and eventually, the rest of the world. There’s a memorable cast of characters, an increasingly dark tone that’s alternately comic and terrifying, and a prominent Greek chorus of 1960’s styled street urchins and “girl group” singers named Crystal (Kennedy Holmes), Chiffon (Taylor Maire Daniel), and Ronnette (Stephanie Gomérez), who narrate and comment on the story. It’s a Faustian tale with a warning, as with vividly drawn characters and a memorable score well-played by the Muny Orchestra led by music director Andrew Graham. 

The staging is spectacular. This isn’t a big show, generally, but director Maggie Burrows and the excellent creative team have managed to fill that big stage with much detail and some impressive effects without losing the show’s overall spirit. In addition to the great set and video production, there are also marvelous costumes by Leon Dobkowski, along with fantastic puppet design by James Ortiz, and dazzling lighting by Rob Denton. This show looks and feels just the way it should, with a few welcome surprises in staging in terms of how the plant is portrayed, that are still in keeping with the tone of the show.

The cast is still relatively small, as well, for a Muny show, with only the principals and a moderately sized Youth Ensemble, who all put in strong, energetic performances. As for the leads, everyone is doing a great job, with  de Jesús the biggest standout in an engaging, terrifically sung turn as Seymour. Holmes, Daniel, and Gomérez are also stellar as the ubiquitous Crystal, Chiffon, and Ronnette, whose singing and dancing is especially impressive. There’s also great support from Vasquez in a variety of roles, including the gleefully violent dentist Orin. Murin and McGrath are also strong as Audrey and Mushnik, and Murin’s scenes with de Jesús are compelling. And then there’s Audrey II, with truly fantastic performances by Ward on vocals and Patton manipulating the meticulously detailed, evolving puppet. This is a somewhat tricky show in terms of tone, considering it’s a comedy, but there are also some seriously dark moments. This cast gets the energy, tone, and atmosphere just right. 

The Muny is on a roll this year. 2023 marks the 20th season I’ve seen shows here, and so far, it has been the best in terms of overall quality and consistency. I have seen some great shows here, but even with its reputation for excellence, the Muny is outdoing itself this season. Little Shop of Horrors is another example of that excellence. It’s  a comedy, but with some dark and genuinely chilling moments. It’s a truly impressive feat of theatrical performance and technical wizardry.

Travis Patton, Robin de Jesús
Photo by Phillip Hamer
The Muny

The Muny is presenting Little Shop of Horrors in Forest Park until July 31, 2023

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The Muny Brings Energy and Heart to Crowd-Pleasing “Beauty and the Beast”

Posted in St Louis Theatre, tagged , , , , , , , , , , on June 26, 2023| 1 Comment »

Disney’s Beauty and the Beast
Music by Alan Menken, Lyrics by Howard Ashman & Tim Rice
Book by Linda Woolverton
Directed by John Tartaglia
Chorographed by Patrick O’Neill
The Muny
June 23, 2023

Cast of Disney’s Beauty and the Beast
Photo by Phillip Hamer
The Muny

Disney’s Beauty and the Beast is a modern classic. Whether it’s the original animated film, the stage production, or the more recent live action film version, this story has found a large, enthusiastic audience over the years. Currently in St. Louis, the Muny is staging a huge, heartfelt production that especially showcases its two leads, as well as an energetic ensemble and some impressive production values. 

Considering its adaptations and the enduring popularity of the original movie, the Disney version of the classic tale is perhaps even more well-known than its source story, at least in America. It’s so popular that it has even spawned many memes and jokes, as well as fan theories that, although inaccurate in my opinion, are widely repeated. But  regardless of what you may think of the story, there’s little doubt that it’s popular, and that the iconic image of Belle in her gold dress and the Beast in his blue coat is easily recognizable by many. The stage show takes the familiar story, with all its iconic moments from the film, and fleshes it out a bit, including some darker moments that aren’t included in the original film, as well as some memorable new songs, and a bit more focus on the servants in the Beast’s castle, who have been transformed into household objects by the same spell that turned the selfish young Prince into a Beast, who is hoping to find true love so he and everyone in his household can become human again.

Belle is the focus character, as is usual, and she’s as strong-willed and intelligent as ever, while being seen as odd by her neighbors in a small French village, and as an object of vanity by the good-looking but self-obsessed Gaston. When Belle makes a deal with the Beast to free her father, the heart of the story is set into motion, and we see how she becomes a catalyst for the Beast’s self-reflection and eventual change. The stage show takes a little more time to explore this relationship, as well as the relationship between the Beast and his servants, including Lumiere, Cogsworth, and Mrs. Potts; as Gaston continues to plot to get his way, leading to an inevitable confrontation. 

The Muny and director John Tartaglia have assembled an excellent cast for this production, led by Ashley Blanchet in a terrific turn as a particularly strong-willed, relatable Belle. Blanchet also has a powerful voice that shines on solo songs like “Home” as well as production numbers like the opening song. Ben Crawford, as the Beast, is also excellent, with strong vocals, memorable stage presence, and excellent chemistry with Blanchet as well as a believable rapport with his household staff, who are all well-cast. Kelvin Moon Loh as the charming Lumiere and Eric Jordan Young as the fastidious Cogsworth especially stand out, and Ann Harada as Mrs. Potts also has some memorable moments, although her voice isn’t quite as strong as those of others I’ve seen in the role. There are also some fun moments from Debby Lennon as opera singer-turned-wardrobe Madame de la Grande Bouche, Holly Ann Butler as maid-turned-feather duster Babette, and Michael Hobin as Mrs. Potts’s son Chip, who has been transformed into a teacup. Claybourne Elder hams it up impressively as the villainous Gaston, as well, matched by Tommy Bracco in a hilarious performance as sidekick LeFou. There’s also a strong ensemble playing everyone from townspeople to enchanted objects, who lend energy and enthusiasm to the production numbers, memorably choreographed by Patrick O’Neill and occasionally featuring some eye-catching pyrotechnics.

Visually, the show is recognizable as the Disney classic while also featuring its own spin on the classic look. The set by Ann Beyersdorfer is versatile and detailed, aided by memorable video design by Greg Emetaz, which for the most part is excellent, although there is one unintentionally humorous video moment late in the show that detracts from the overall weight of an important scene. The lighting by Jason Lyons and detailed costumes by Robin McGee also add to the entertaining and occasionally thrilling atmosphere of the production, along with some whimsical puppets designed by Andy Manjuck and Dorothy James. There’s also a great Muny Orchestra led by music director Ben Whiteley, playing that lush, melodic score with style.

Disney’s Beauty and the Beast at the Muny is, for the most part, a rousing success. It’s a classic tale of love, compassion, and standing out from the crowd, brought to Forest Park again with wit, style, and and occasional touches of whimsy, melancholy, and glamour. Although some moments may be scary for very young children, this is a show that should appeal to all ages, and the crowd certainly loves it. It’s another entertaining entry in the Muny’s 2023 season. 

Ashley Blanchet, Ben Crawford
Photo by Phillip Hamer
The Muny

The Muny is presenting Disney’s Beauty and the Beast in Forest Park until June 30, 2023

This review was originally posted at kdhx.org

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“Aladdin” Entertains in Formulaic Style at the Fox

Posted in St Louis Theatre, tagged , , , , , , , , , on November 15, 2018| Leave a Comment »

Aladdin
Music by Alan Menken, Lyrics by Howard Ashman, Tim Rice and Chad Beguelin
Book by Chad Beguelin
Directed and Choreographed by Casey Nicholaw
The Fox Theatre
November 9, 2018

Cast of Aladdin
Photo by Deen van Meer
Aladdin North American Tour

Aladdin is a crowd-pleaser. There’s no question about that when you attend the touring production at the Fox and hear the enthusiastic audience reactions to this adaptation of the popular Disney animated movie. It’s got a memorable score and some classic songs, as well as big, bright, flashy production values and an excellent cast. There’s a lot to enjoy about this production, although there are also some problems.

The show, as presented at the Fox and based on the Broadway production, is essentially like a Disney theme park attraction on stage. It’s not particularly authentic to the Middle Eastern setting–in fact, the Genie (Michael James Scott) makes a point in his introduction of telling the audience that this is a fictional location, and especially stressing the word “fictional”. The cast is very diverse, but the show is definitely not going for accuracy in terms of setting and tone, either. It’s all extremely stylized and played up for humor. The film was also highly stylized, so this is just following that precedent, although this stage version is even more so, somewhat in the vein of a 1950s-style sketch comedy show. The hit songs from the film are all here, from “Friend Like Me” to “A Whole New World” and more. The story is essentially the same as the film, but with some changes—Aladdin (Clinton Greenspan) now has three sidekick-friends–Babkak (Zach Bencal), Omar (Phillippe Arroyo), and Kassim (Jed Feder) who show up from time to time, and villain Jafar (Jonathan Weir) still has his henchman Iago (Jay Paranada), but Iago is not a parrot and the other animal characters from the film have been written out. Princess Jasmine (Lissa deGuzman) is given a little bit more to do and sing. Also, Aladdin is given a little more backstory and some plot points have been changed and rearranged, and the ending seems somewhat abrupt.

I first saw the stage adaptation of this show a few years ago when the Muny presented it, prior to its Broadway run. It was still in the development stages. Seeing it again at the Fox, I’ve noticed a lot of changes made to the script in the meantime, some of which are improvements and others that are more questionable. For instance, Aladdin’s three friends were the narrators in the Muny version, and seemed more of a presence in the story. Here, the narrator role has been given to the Genie, which seems appropriate in one sense since the Genie is such a memorable character. Still, the three friends now seem more like thrown-in characters and don’t seem to have a lot of purpose in the story. Still, this isn’t trying to be deep or challenging. It’s trying to be a big Disney spectacle, and it succeeds at that, for the most part.  It’s big, it’s flashy, there’s an impressive, ornate, versatile set by Bob Crowley, whimsically stylish costumes by Gregg Barnes, and atmospheric lighting by Natasha Katz. It almost looks like an animated film come to life, and director-choreographer Casey Nicholaw’s choreography is energetic and well-performed.

It’s the performances, in fact, that are the real highlight of this production, led by Scott in a funny, high-energy, charismatic turn as the Genie. Actually, with this show it’s worth wondering why they don’t just retitle it Aladdin and the Genie or even the other way around because even though Aladdin has the most stage time, the Genie is really the star. Greenspan is an amiable Aladdin as well, with a strong voice and excellent chemistry with the equally strong deGuzman as Jasmine. Their duet on “A Whole New World” is a highlight, as is the staging of that song, which is a major improvement on the version I saw at the Muny. Weir and Paranada are also excellent, hamming it up with enthusiasm as a pair of over-the-top cartoon villains. Bencal, Arroyo, and Feder do well with their underwritten roles, as does Jerald Vincent as the Sultan. The leads are supported by a strong ensemble that does well with the high-energy dancing and production numbers, as well.

There’s more than a little bit of the commercial about this Aladdin, but that’s not a surprise, really.It has a great cast and memorable songs. It’s a bright, tuneful, energetic show that’s sure to attract a large family audience, and if that’s what you are looking for, you should enjoy it.

Michael James Scott
Photo by Deen van Meer
Aladdin North American Tour

The North American tour of Aladdin is being presented at the Fox Theatre until November 25, 2018

 

 

 

 

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Energetic “Newsies” Is An Ideal Show for the Muny

Posted in St Louis Theatre, tagged , , , , , , , on August 11, 2017| 1 Comment »

Newsies, the Musical
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed and Choreographed by Chris Bailey
The Muny
August 7, 2017

Cast of Newsies
Photo: The Muny

Thinking of shows that seem like they are made for the Muny, I think Newsies would be a prime example. The big, energetic Disney musical is ideally suited for a large outdoor stage like the Muny’s, and there’s a lot of room for the youth ensembles as well. As the closing show for the Muny’s 99th season, Newsies proves to be an excellent fit for the venue, as well as a rousing, well-cast and immensely entertaining production.

The show, based on the Disney film, tells a fictionalized version of a true story–a strike by newsboys in New York City in 1899. Here, the focus is on a group of “newsies” who deliver papers for the New York World newspaper, led by Jack Kelly (Jay Armstrong Johnson), a teenage orphan with artistic talents and dreams of moving west. When World publisher Joseph Pulitzer (Davis Gaines) decides to raise the prices that the newsies pay for the papers they sell, Jack finds himself the leader of an impromptu union, along with his friend Crutchie (Daniel Quadrino), his new friends Davey (Spencer Davis Milford) and Davey’s little brother Les (Gabriel Cytron), and the rest of the neighborhood’s newsies, with hopes of rallying support from those from other papers and throughout the city. The movement is covered by ambitious reporter Katherine Plumber (Tessa Grady), who harbors a secret and finds herself attracted to Jack. As the movement grows, Pulitzer, the show’s obvious villain, grows agitated, and the newsies enlist the help of local entertainer Medda Larkin (Ta’rea Campbell), for whom Jack occasionally works painting backdrops for her theatre. The newsies’ strike becomes front page news, but Pulitzer’s efforts to stop it threaten to run Jack out of town and make conditions even worse for the newsies.

I’ve seen this show before, twice, on tour, first in Chicago and then here in St. Louis. I enjoyed both of those productions, but I think this production works even better not only because of its excellent cast, but because of the unique staging opportunities the Muny affords. The Muny Kids and Teens, for instance, are ideally suited for a show like this, to fill out the cast in a way that doesn’t seem manufactured or forced in the least. The direction and choreography by Chris Bailey is in a similar vein to the touring show, but the big Muny stage lends a great advantage for this show full of energetic leaping, spinning, and tapping.  Michael Schweikardt’s set also works well, with movable set pieces in the steel-beam platform style of the tour, but allowing for more flexibility of movement for the production and its large cast. There’s also excellent lighting by John Lasiter, striking video design by Nathan W. Scheuer, and colorful period costumes by Leon Dobkowski to help complete the overall look and atmosphere of the production.

The cast here is simply superb.  Johnson, with his strong voice and amiable stage presence, makes an ideal Jack Kelly. His scenes with his fellow newsies and with Grady’s terrific, spunky Katherine are highlights of this production. There’s also great work from Milford as Davey, young Cytron as Les, Campbell as Medda, and all of the newsies as well. I’ve always thought Pulitzer has been written as something of a cartoon villain in this show, but Gaines does an excellent job with the role as it’s presented. There’s a first-rate ensemble as well, including the Muny’s Youth Ensemble, helping to populate the Muny stage and contribute the energetic, tuneful production numbers.

Newsies is a fun show, with a big, enthusiastic cast. And at the Muny, it’s bigger, bolder, and better than ever. It’s been a great season at the Muny, and this show closes it out with style.

Cast of Newsies
Photo: The Muny

The Muny is presenting Newsies in Forest Park until August 13, 2017.

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Vibrant “Little Mermaid” Makes a Splash at the Muny

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

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

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

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

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

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

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

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

Emma Degerstedt, Jason Gotay
Photo: The Muny

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

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STAGES Entertains With Crowd-Pleasing Disco “Sister Act”

Posted in St Louis Theatre, tagged , , , , , , , , , on September 22, 2016| Leave a Comment »

Sister Act
Music by Alan Menken, Lyrics by Glenn Slater
Book by Cheri Steinkellner and Bill Steinkellner
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
September 14, 2016

The Cast of Sister Act Photo by Peter Wochniak, ProPhotoSTL.com STAGES St. Louis

The Cast of Sister Act
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

I think everyone immediately thinks of Whoopi Goldberg when they hear the title Sister Act.  The 1992 film was a big hit, followed by a 1993 sequel and a subsequent musical adaptation in London and on Broadway, co-produced by Goldberg. The musical, however, has been substantially re-tooled to have a different setting and musical style than the film, and as the final production of STAGES St. Louis’s 2016 season, it’s not quite as memorable as the movie, but it’s still an entertaining show.

The writers were wise to re-tool the show, in sense. The story is so associated with Goldberg and her unique talents that adapting the show basically required making the central character Deloris Van Cartier (played here by Dan’yelle Williamson) more distinct from Goldberg’s characterization. The show has also been re-imagined and re-set so it now takes place in late 1970’s Philadelphia, casting Deloris as an aspiring disco diva instead of a Motown-inspired Reno lounge performer as in the film. The classic hits used in the film aren’t here either, replaced with new songs by Alan Menken (of Disney fame) and Glenn Slater. The style is a blend of disco and traditional musical theatre songs, with occasional elements of Gospel. The story is also made a little more personal, giving Deloris a backstory of having gone to high school with police officer Eddie Souther (Curtis Wiley), who arranges for Deloris to go into hiding at Queen of Angels convent after having witnessed her nightclub-promoter/crime boss boyfriend Curtis Jackson (Kent Overshown) committing a murder.  The story then follows a similar pattern to the movie, as the newly christened “Sister Mary Clarence” struggles to adapt to her new environment at the convent, much to the consternation of the strict but caring Mother Superior (Corinne Melançon), and to the fascination of the other nuns who just want to make friends, including the ever-cheerful Sister Mary Patrick (Sarah Michelle Cuc), the shy novice Sister Mary Robert (Leah Berry), and the feisty Sister Mary Lazarus (Michele Burdette Elmore).  Together, Deloris and the sisters embark on a journey that takes them, their choir, and the convent, to new levels of understanding and notoriety. The basic story of the film is followed, with some changes in the tone and a slightly modified conclusion.

The 1970’s setting works reasonably well, and the disco songs are catchy, particularly the group songs with the nuns such as “Raise Your Voice”, the reprise of Deloris’s original disco anthem “Take Me to Heaven”, and especially the joyous “Sunday Morning Fever”.  For the most part, however, I preferred the songs in the film.  The comedy elements of the show work well enough, with some of the jokes falling flat but most of them working. Curtis Jackson’s three henchmen, T.J. (Kevin Curtis), Pablo (Keith Boyer), and Joey (Myles McHale) are funny but a little overly silly, and Curtis is more of a one-dimensional villain, although Overshown makes the most of the role. Still, it’s a fun show, and Wiley’s Eddie is believably sympathetic and has good chemistry with Williamson’s Deloris. The real stars of the show, though, are of course Deloris and the nuns, and this production has cast them all extremely well.

Williamson brings a convincing mixture of toughness and vulnerability to the role of Deloris, and she has a great voice and strong stage presence. She carries off the songs very well, and her developing rapport with the sisters is affectingly believable. Melançon, as the Mother Superior, has just the right blend of authority and compassion, as well, and she has some excellent musical moments with “Here Within These Walls” and “I Haven’t Got a Prayer”. The main supporting nuns are all standouts, as well, with Cuc’s bubbly enthusiasm,  Berry’s earnest sincerity, and Elmore’s snarky energy all contributing to the overall sense of camaraderie of the nuns, and the infectious energy of the show.  Steve Isom is also memorable as the benevolent Monsignor O’Hara, who becomes an enthusiastic supporter of the Deloris and her “new” choir. The lead performers are also backed by a strong ensemble, filling out the bigger musical numbers with appropriate style and attitude.

The staging is strong, as well, with vibrant choreography by Stephen Bourneuf. James Wolk’s set is colorful and versatile, and Brad Musgrove’s costumes appropriately evoke the disco era, with just the right over-the-top glitter and glitz when it’s needed. Sean M. Savoie’s lighting also contributes to the overall disco mood of the piece, and the sense of fun is well achieved and maintained.

Ultimately, there really isn’t a whole lot of depth to this Sister Act. The story is a little contrived, but what’s there is a lot of fun.  A show like this is more about the characters than the story, and the characters are cast well, led by the excellent Williamson and Melançon. It’s a big, bold, glittery disco tale of sisterhood in various forms, and it’s a fine conclusion to the season at STAGES.

Steve Isom, Corinne Melançon , Dan'yelle Williamson Photo by Peter Wochniak, ProPhotoSTL.com STAGES St. Louis

Steve Isom, Corinne Melançon , Dan’yelle Williamson
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

STAGES St. Louis’s production of Sister Act is running at the Robert G. Reim Theatre in Kirkwood until October 9, 2016.

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Entertaining “Newsies” Tour Carries Its Banner to the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on January 23, 2016| Leave a Comment »

Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Jeff Calhoun
Choreographed by Christopher Gatelli
The Fox Theatre
January 19, 2016

Joey Barreiro (center) and Cast Photo by Deen van Meer Newsies North American Tour

Joey Barreiro (center) and Cast
Photo by Deen van Meer
Newsies North American Tour

Newsies is a big, bold, energetic musical based on a cult-classic Disney movie of the same name. It’s on the second leg of its North American tour now, and it’s finally making a stop in St. Louis.  I saw the tour in Chicago in late 2014 and enjoyed it. This year, the cast is mostly new but it’s the same entertaining show.

Newsies is Disney’s retelling of the 1899 newsboys’ strike in New York, given the family-show treatment and lots of energy and optimism. It follows a group of “Newsies” led by the enterprising orphan Jack Kelly (Joey Barreiro), along with his friends Crutchie (Zachary Sayle) and “new kids”, brothers Davey (Stephen Michael Langton)–who becomes essentially Jack’s deputy–and feisty 10-year-old Les (John Michael Pitera, alternating with Ethan Steiner). Upset when New York World newspaper publisher Joseph Pulitzer (Steve Blanchard) raises the prices that the newsies have to pay for their papers, Jack gathers his buddies to launch a strike against the paper, and eventually other New York papers as well. Into the midst of this situation comes Katherine (Morgan Keene), a young woman reporter who writes about the strike and is attracted to Jack, who likes her back even though there’s one important fact about her that he doesn’t know.

This is a fun show, plain and simple. It’s not particularly deep or reflective, but there’s some good music and some especially extraordinary dancing, choreographed by Christopher Gatelli. It’s the kind of high energy, athletic, jumping and tapping and leaping and cartwheeling kind of dancing that gives this show its real spark. In fact, I would say that the real stars of this edition of the tour are the newsies themselves. With their considerable dance skills, charm, and ensemble chemistry, these guys carry the show in enemble numbers like “Carrying the Banner”, “Seize the Day”, and “King of New York”. The rest of the cast is fine, with the standouts being Sayle as the amiable Crutchie, Langton as the earnest Davey, and Pitera as his spunky little brother Les. Aisha De Haas is also excellent as the newsies’ main adult ally, singer Medda Larkin. Blanchard, who along with Sayle has been with the tour from the beginning, is good in this portrayal of Pulitzer as somewhat of a cartoonish villain. Barreiro is fine as Jack, displaying a lot of energy, although he’s not quite convincing as a teenager, and his chemistry with Keene’s more lackluster Katherine is not particularly convincing. Still, this is a show that’s sure to entertain especially because of that top-notch ensemble.

The set, designed by Tobin Ernst, is still spectacular, with its movable beams and grids, and wonderful use of projections, originally designed by Sven Ortel and adapted by Daniel Brodie. The costumes, by Jess Goldstein, are colorful and period appropriate, and they suit the characters well. For once, the sound, designed by Ken Travis–works well at the Fox, too. I’ve noticed sound problems in several touring shows that have played here, but Newsies does well, and every word of dialogue and the lyrics of every song are clearly audible. The show presents something of a stylized version of late 19th-Century New York, in keeping with the upbeat, more family-focused theme, but it’s a well-realized vision that contributes to the vibrancy of the production.

Newsies at the Fox might not be quite as stellar as it was in Chicago, but it’s still lots of fun. Ultimately, a show like this is about telling its story and doing so in an entertaining fashion. Newsies does that, with a delightful ensemble and a memorable score. I’m glad St. Louis audiences now have the chance to see it.

Cast of Newsies Photo by Deen Van Meer Newsies North American Tour

Cast of Newsies
Photo by Deen Van Meer
Newsies North American Tour

The North American tour of Newsies runs at the Fox Theatre until January 31, 2016.

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