Posts Tagged ‘brittanie gunn’

Tesseract Enchants with Poignant, Well-Sung “Anastasia”

Posted in St Louis Theatre, tagged , , , , , , , , , , , on November 15, 2024| Leave a Comment »

Anastasia the Musical
Book by Terrence McNally
Music and Lyrics by Stephen Flaherty and Lynn Ahrens
From the Play by Marcelle Maurette as Adapted by Guy Bolton
Directed by Brittanie Gunn
Choreographed by Michelle Sauer
Tesseract Theatre Company
November 14, 2024

Sarah Wilkinson, Aaron Fischer
Photo by FF
Tesseract Theatre Company

Tesseract Theatre Company has become especially ambitious lately, staging more musicals, and generally “bigger” shows than ever before. Their latest production, Anastasia the Musical, continues this trend, but also manages to “shrink” the show to an almost intimate production that focuses largely on character and singing, but also features production choices that make the most of the small-ish theatre space at the Marcelle and their more limited resources appear more as an asset than a limitation. With smart direction, energetic choreography, a consistent artistic vision, and a great cast, this is more proof that Tesseract is living up to its ambitions.

The show is essentially based on the animated film from 1997, but also from the previous non-musical stage version by Marcelle Maurette, which formed the basis for the 1956 film starring Ingrid Bergman. Much of the film score is here, including perhaps its most well-known song, “Journey to the Past”, but thankfully the story has been modified to bring it a little more “down to Earth” and removing the zombie-like Rasputin as the villain and having a much less cartoonish antagonist in Gleb (Donald Kidd), a Bolshevik official who has reasons of his own to oppose the scheme of the enterprising Dmitry (Aaron Fischer) and Vlad (Kent Coffel) to pass off young amnesiac street sweeper Anya (Sarah Wilkinson) as the Grand Duchess Anastasia, who is rumored to have survived the assassination of the rest of her family. For those three, however, things get complicated as what starts out as a scam develops into burgeoning feelings between Anya and Dmitry, and Anya starts recovering memories that suggest maybe she really is the long-lost Grand Duchess. Also, Anastasia’s grandmother, the Dowager Empress (Margery A. Handy) waits in Paris and has grown weary of the long line of imposters who have written her letters claiming to be her granddaughter. Vlad, who used to be a member of the Romanovs’ court, has a former romantic connection with the Dowager’s lady-in-waiting, the Countess Lily (Kimmie Kidd), and he and Dmitry hope they can use her influence to get Anya seen by the Dowager. Meanwhile, Gleb is still on their trail, and Anya isn’t sure what’s going to happen when and if she does regain her memories.

As an animated film, and as a show produced on Broadway, this was a grand, sweeping, relatively large cast story. Here, on stage at the Marcelle, it’s a thoughtfully staged smaller cast show that still manages to keep a sense of scale despite space and cast-size limitations. Kudos to director Brittanie Gunn for the character-focused staging, choreographer Michelle Sauer for energetic and memorable dancing and movement, and the band led by music director Zach Newman for emphasizing the lushness of the score, even though there are moments when the music can overpower the singers, although that seems to be a regular issue with this venue. There’s also well-realized set design by Todd Schaefer that evokes early 20th Century Russia and Paris in an elegant way, augmented by Kevin Bowman’s atmospheric lighting and Sarah Gene Dowling’s detailed, period-specific costumes.

The cast is excellent, and the singing is exceptional from everyone involved. In addition to the remarkable performance of Wilkinson as a thoroughly believable Anya, there’s also a strong turn from Fischer as the initially scheming but gradually won over Dmitry. The scenes between these two are a highlight, as are all of the moments with Coffel as the charmingly enterprising Vlad and Kimmie Kidd as the stylish Lily. Donald Kidd is effective and in strong voice as the conflicted Gleb, and Handy is also strong as the grieving Dowager Countess. The entire ensemble is impressive, with the rest of the players filling a variety of roles as needed. Tiélere Cheatem, Scott Degitz-Fries, Ella Drake, Danielle Feinstein, Julia Gilbert Gaglio, Lindsey Grojean, Jaelyn Hawkins, Stephanie Merritt, Jacob Schmidt, and Kelvin Urday all deserve credit for their versatile, energetic performances and excellent singing, with some memorable ensemble numbers including “Stay, I Pray You”–featuring Cheatem in a poignant solo–as well as the lively “Paris Holds the Key” and more. The music here is a special highlight of this production, with lush harmonies and strong, clear vocals.

Anastasia the Musical is another excellent musical offering from Tesseract Theatre Company. You may know the animated film, but this show takes that story and brings it a degree of depth and poignancy that I haven’t seen in previous versions of this story. It’s a story of determination, discovery, and hope, well-staged by this excellent cast and creative team.

Cast of Anastasia the Musical
Photo by FF
Tesseract Theatre Company

The Tesseract Theatre Company is presenting Anastasia the Musical at the Marcelle Theatre until November 24, 2024

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Tuneful “My Heart Says Go” is a Promising New Musical from Tesseract

Posted in St Louis Theatre, tagged , , , , , , , on July 18, 2024| Leave a Comment »

My Heart Says Go
Music and Lyrics by Jorge Rivera-Herrans
Additional Arrangements by Geoffrey Ko
Book by Matthew Hawkins
Directed by Brittanie Gunn
Choreographed by Maggie Nold
Tesseract Theatre Company
July 13, 2024

Kevin Corpuz and Cast
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theater Company is launching their New Musical Summer Fest this year, with two musicals opening on successive weekends. The first entry is the earnestly engaging My Heart Says Go, which features a theme that can be seen as overused, although the characters are memorable, the score is catchy, and the cast is excellent. It’s got a lot in the way of entertainment value, although there are a few plot issues that need some work.

From the show’s title, you’ll essentially know the theme. This is one of those “follow your heart/find your dream” stories that are so plentiful these days. Because this general idea is so popular, a lot of these stories can seem to blur together after a while, so it’s something of a challenge to make them stand out from the others. This show has a tuneful score, memorable characters, and a quirky, knowing sense of humor that lends much interest to it’s story. The plot follows Indigo (Kevin Corpuz)– a young math/science whiz who quits medical school to pursue the dream of becoming a musician. He’s even developed an algorithm to write the “perfect pop song”, so he packs up his guitar and takes the train to Los Angeles, leaving behind his skeptical, hardworking dad (Kelvin Urday), who has had high hopes for Indigo’s success in the medical field. On the way, Indigo meets would-be fashion designer Clara (Sarah Wilkinson), who is also headed to LA and has an even more complicated relationship with her mother (Loren Goudreau). A sympathetic train conductor (Victoria Pines) encourages Indigo and Clara to make the most of their lives.

Upon arriving in LA, Indigo and Clara end up sharing an apartment, managed by geeky wannabe social media influencer Timmy (Clayton Humburg), who gives them a deal against the wishes of his mom, who owns the building. As Clara barters for groceries and Indigo looks for a job to make ends meet, they also meet Rob (Kevin Hester), a struggling musician who apparently used to be more successful, and who has connections at a recording studio. Soon, as Indigo’s dad tries to convince him to give med school another try, Indigo finds out about a TV talent competition and enters. Will this be the big break Indigo has been looking for? Or is there more drama ahead?

There are some plot issues with this show, in that it tends to be predictable, and some subplots–such as those involving Rob, as well as Clara’s mom–aren’t given enough time or suitable conclusion. And Clara’s story isn’t as fleshed-out as it could be, either. Still, even with its drawbacks, this is an engaging show, with humor and a promising score, and especially memorable characters played well by the well-chosen cast. Corpuz is highly likable as the talented but conflicted Indigo, with a great voice and convincing stage presence. Wilkinson is also strong as the quirky Clara, and Humburg steals every scene he’s in as the charmingly nerdy Timmy. There are also standout turns from Urday as Indigo’s loving but concerned father and Pines, in great voice as the wise train conductor. There’s also a fine ensemble in support, including Grace Langford, Laura Schultz, Milo Garlich, David Gregory, and Khristian Duncan. 

Visually, the show has a simple but eye-catching look, with Brittanie Gunn’s versatile set highlighted by a neon backdrop aiding the storytelling especially well. There are also well-suited costumes by Abby Pastorello, striking atmospheric lighting by Matt Stuckel,  strong music direction by Larry Pry, and energetic choreography by Maggie Nold, working together with the staging to create a sense of motion and moving forward that lends urgency and vibrancy as the plot unfolds.

Overall, although it could use some revision, this is an engaging, entertaining new musical. As staged by Tesseract, My Heart Says Go features an enthusiastic cast, strong vocals, and a cohesive visual style. It’s a highly promising new work. 

Kevin Corpuz, Clayton Humburg, Sarah Wilkinson
Photo by Florence Flick
Tesseract Theatre Company

 

Tesseract Theatre Company is presenting My Heart Says Go as part of the New Musical Summer Fest 2024 at the Marcelle Theatre until July 24, 2024

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Tesseract Introduces a Fascinating New play “In Bloom”

Posted in St Louis Theatre, tagged , , , , , on July 26, 2023| Leave a Comment »

In Bloom
by Gwyneth Strope
Directed by Brittanie Gunn
Tesseract Theatre Company
July 21, 2023

Cast of In Bloom
Photo: Tesseract Theatre Company

The Tesseract Theatre Company’s second entry in its Summer New Play Festival finished up performances this past weekend. In Bloom, by Gwyneth Strope, is a thoroughly engaging, character-driven comedy-drama that has a lot of promise as a new play. At Tesseract, a likable, enthusiastic cast brought this intriguing one-act play to life with simple but effect production values. Although it’s not without its issues that need to be worked out, it’s a highly promising story and a vivid portrait of a family, their relationships, and their struggles.

The story follows divorced mother Dorothy (Christina Rios) and her four daughters who each have their own personal goals, interests, and struggles. There’s eldest Rosalind (Amy Riddle, standing in for principal Rhiannon Creighton), who wants to go to flight school and become a pilot; the creative but insecure Lorelei (Catherine Analla), who is concealing a secret; the usually quiet, empathetic Camille (Vaida Gruenloh), who suffers from rheumatoid arthritis; and the strong-willed youngest daughter, aspiring athlete Eileen (Rosario Rios-Kelley), who is suspicious of all the changes that are about to take place in her family as Camille takes it upon herself to be a matchmaker for her mother and Kevin, Eileen’s best friend’s father, who is much talked about but unseen onstage. The action begins as the family prepares to attend Dorothy’s mother’s wedding, and continues as the family deals with various issues of relationship, future aspirations, personality conflicts, and more, with a good deal of literary references and the motif of a developing garden, both literal and figurative. 

It’s a promising show, with vividly portrayed characters and believable relationships, with a bit of a resemblance to Little Women, although this is not an adaptation of that story. The casting is excellent, with all the players working together to portray a believable family dynamic, led by the excellent Rios as the loving but frequently exasperated Dorothy, and each of the daughters well-cast. Especially notable is Riddle, who had script in hand while filling in as Rosalind, but managed to give a strong, convincing performance and fit well as a member of the onstage family. The performers also managed to make the offstage characters–Kevin and his son Matt, as well as the grandmother and her new husband–seem real despite their not physically appearing.  

The pacing is excellent, as well, and the set by Brittanie Gunn and Taylor Gruenloh is simple and effective. Erin Riley’s lighting also contributes to the atmosphere well. Although there may be a bit too much going on at times, this is a relatable, intriguing story that should appeal to audiences of various ages. It’s another strong entry in Tesseract’s increasingly memorable Summer New Play Festival. 

 

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Tesseract Theatre Company stages a Vibrant, Somewhat Mixed-Up “Welcome”

Posted in St Louis Theatre, Uncategorized, tagged , , , , , on May 4, 2023| Leave a Comment »

Welcome to Arroyo’s
by Kristoffer Diaz
Directed by Brittanie Gunn
Tesseract Theatre Company
April 29, 2023

Victor Mendez
Photo: Tesseract Theatre Company

Welcome to Arroyo’s! That’s the name of Tesseract Theatre Company’s latest show, currently being staged at the .ZACK Theatre. Production-wise, it’s vibrant and fun, with an energetic cast. The play itself can be frustrating in its structure at times, but for the most part it’s an intriguing journey into the world of a small New York City bar, its staff and would-be regulars, with a lively, mostly hip-hop soundtrack.

The story, narrated alternatingly by aspiring rap duo Nelson (Kevin Corpuz) and Trip (Jacob Schmidt), and by earnest grad student Lelly (Hannah de Oliveira), follows three main threads, as Alejandro (Victor Mendez) strives to turn his mother’s former bodega into a thriving bar; Alejandro’s younger sister Molly (Remi Mark), a graffiti artist, looks to establish a name for herself despite run-ins with the police, including Officer Derek (Marshall Jennings), with whom she develops a reluctant attraction; and Lelly’s quest to discover the identity of an influential figure in the early hip-hop scene, about whom she’s writing a thesis. These stories all intersect at various points, with the bar as the central locale, but really, it’s a story about hopes, dreams, personal history, family connections, and the role of a community in the lives of its residents, and vice versa.

It’s a compelling story, for the most part, with memorable characters, a good dose of humor, and excellent use of music. Still, the structure can be a little difficult to follow at times, as each plot keeps putting off key revelations in ways that seem more designed to frustrate the audience than to really drive the story. At Tesseract, the story is well-played, though, with the characters and memorable performances bringing energy to the overall presentation, along with vibrant production values.

The production manager is Sarah Baucom, but there’s no credit given to the set designer or projection designer, although the simple but effective set and memorable projections provide much of the overall atmosphere. Also contributing to the mood are Tony Anselmo’s eye-catching lighting and Jaz Tucker’s excellent sound design. The hip-hop soundtrack and use of other music adds much to the overall energy of the show.

As for the cast, the standouts here are Corpuz and Schmidt, who are both hilarious and personable as the aspiring hip-hop artists who work at the bar. Much of the play’s energy and humor comes from these two, and they energize all the scenes they are in. Mark and Jennings are also strong as the rebellious Molly and somewhat weary but well-meaning cop Derek, who has his own identity issues to deal with concerning sharing his name with a celebrity. Mendez also puts in a solid performance as Alejandro, making the most of a part that isn’t given much to do beyond being alternately sad and determined; and de Oliveira is fine as Lelly, although she could use more energy in some moments. Overall, it’s a cohesive cast that makes the most of this show’s oddly organized script.

While the script is not without its flaws, Welcome to Arroyo’s is a compelling story with good characters and lots of humor and heart. It’s a show about relationships between people, as well as between artists and their art, and individuals and the communities in which they live.  At Tesseract, it’s an entertaining and thoughtful production.

Remi Mark, Marshall Jennings
Photo: Tesseract Theatre Company

The Tesseract Theatre Company is presenting Welcome to Arroyo’s at the .ZACK Theatre until May 7, 2023

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Tesseract’s Intense “All That Remains” Explores The Human Impact of Tragedy

Posted in St Louis Theatre, tagged , , , , , on July 25, 2022| Leave a Comment »

All That Remains
by JM Chambers
Directed by Brittanie Gunn
Tesseract Theatre Company
July 23, 2022

Nyx Kaine, Sherard E. Curry, Victor Mendez
Photo by Brittanie Gunn
Tesseract Theatre Company

The second, and final, play in the Tesseract Theatre Company’s 2022 Summer New Play series is an in-depth look at the impact a great tragedy has on individual survivors, on relationships, and on an entire community. All That Remains deals with its heavy subject matter in a credible way, and the production features some excellent performances by its strong cast. It’s a well-structured play, for the most part, focusing on the direct human impact of a public tragedy, and it’s a fascinating, ultimately emotionally moving production.

This play doesn’t take any time to get to the drama. In fact, it starts in the middle of a loud, emotional argument between married couple Gary (Sherard E. Curry) and Elaine (Melody Quinn). Both are distraught for different reasons related to the same event–Gary is refusing to leave the house or do much of anything as he is still dealing with immense grief and trauma following a mass shooting at the high school where he was a teacher. Elaine is upset because she’s at the end of her rope, not knowing how to help Gary and still dealing with her own grief over both the shooting and another personal tragedy a few months before the shooting. She’s trying to encourage Gary to get out and try to move on, hanging out with friends Maggie (Morgan Maul-Smith) and Dylan (Luis Aguilar), but the one attempted get-together doesn’t go well. Gary, for his part, knows on one level that he needs to do something, but is still too overwhelmed, as he continually deals with flashbacks to the shooting and still hears the voices of victims he was close to–his best friend and fellow teacher Melody (Nyx Kaine) and Alejandro (Victor Mendez), one of his students. The emotions and issues continue to spiral out of control, until Elaine feels forced to take a drastic action to help Gary, which at first only appears to make things worse. Elaine, for her part, is also a sounding board for Maggie, who has lost one of her twin sons in the shooting and is dealing with how to help the surviving son. Much of the focus is on Gary, who has a huge struggle ahead of him, and Dylan proves to be a surprising resource of help in that regard. It’s a long, slow road as Gary and Elaine try to work their way back toward one another, but are there feelings and efforts enough? And what of the rest of the community that has been devastated by this tragedy?  

This is a story that pulls no punches in its depiction of deep grief and trauma resulting from tragedy. Emotions are laid bare, and there are many sensitive issues dealt with–such as violence, mass shootings, mental illness, the loss of loved ones, stillbirth, and more. It’s an intense show, but it’s well structured for the most part. There are some somewhat confusing timeline issues at times, but mostly, this is a compelling story centered on the various effects that a mass shooting can have on individuals, families, friendships, and whole communities.  The focus here is highly personal, with little to no mention of the political debates that often surround these tragic events. This is about Gary, and Elaine, their circle of friends, and their small Nebraska town, dealing with an overwhelming event that none of them had expected. It shows how they try, fail, and hopefully eventually succeed in picking up the shattered pieces of what had been and making a way in life. 

The direction and performances are excellent, as the build-up, tension, and road to recovery are shown with all the messiness and difficulty of grief, but also with an ever growing sense of hope in the midst of the struggle. As Gary, Curry gives a credible, emotionally resonant performance, as does Quinn as Elaine. Even throughout their intense struggles, they portray a couple that one wants to succeed. Aguilar and Maul-Smith are also convincing in support as Dylan and Maggie, who each have their own struggles to relate. Kaine and Mendez are also especially memorable as Melody and Alejandro, whose appearances seem to mark different levels of Gary’s struggle. It’s an especially cohesive ensemble, and the writing is also sufficient in that even with such a small cast, the overall sense of community and collective grief process of a whole town is clearly evident.

The production values are simple but effective, with a basic set by director Brittanie Gunn that forms an appropriate background for the action, and excellent lighting by Kevin Bowman that emphasizes the stark simplicity of the setting and centers on the performances. All That Remains may be intense, but it also has an undercurrent of persistent, even stubborn striving for hope. It’s another promising new play from Tesseract.

Melody Quinn, Morgan Maul-Smith
Photo by Brittanie Gunn
Tesseract Theatre Company

Tesseract Theatre Company is presenting All That Remains at the Marcelle Theatre until July 31, 2022

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