Posts Tagged ‘chris kernan’

Nine
Book by Arthur Kopit, Music and Lyrics by Maury Yeston
Based on the Film 8 1/2 Written by Federico Fellini
Adapted from the Italian by Mario Fratti
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kernan
New Line Theatre
March 3, 2023

Cast of Nine
Photo by Gerry Love
New Line Theatre

Nine is a show I’d heard about, and heard songs from, but had never seen. From what I had seen and heard, I wanted to see it, but I just hadn’t had the opportunity, because it doesn’t seem to be performed a lot, at least in St. Louis. Yes, there’s a movie, but I had heard highly mixed reports about it, and I prefer to see shows on stage first if at all possible. I also hadn’t seen the original Fellini movie, 8 1/2, on which Nine is based–although now, I want to. Thankfully, New Line Theatre has now given me and others the chance to see this unusual, fascinating show, which is ideal for this theatre company, known for its bold choices and excellent production quality, and especially great singing. 

The story focuses on self-absorbed movie director Guido Contini (Cole Gutman) and the multitudes of women in his life, from his longsuffering wife, Luisa (Lisa Karpowicz) to his eager mistress Carla (Sarah Wilkinson), to his determined producer, Liliane LeFleur (Kimmie Kidd-Booker), and his elusive favorite film star Claudia (Ann Hier Brown) to various other figures in his life, such as his mother (Stephanie Merritt) and a host of muses, exes, critics, and more. The creative, conflicted Guido is struggling to come up with a script for his next picture, which is due to be filmed imminently. This story has a fantastical element, in that most (if not all) of the action is taking place in Guido’s mind, as he struggles not only with his present dilemma while staying at a spa in Venice, but also deals with the influences of his past, and the continued theme of his relationships with–and attitudes toward–women.

There’s a lot going on here, and I won’t go into too much detail since the journey of discovery is important to see firsthand. It’s Guido’s journey, and although the show explores his relationships with many women, his marriage with Luisa is the most prominent, and the staging reflects her importance, with Luisa often seeming to be a spectator to some of the more elaborate fantasy sequences, so we can see her reactions not only to his attitudes and interactions, but toward Guido himself, and the kind of man he is. There’s obviously love here, but there is also intense conflict, and other figures in Guido’s life also loom large, with impressive performances all around, and some of the best, most intricate ensemble singing I have heard at New Line, and with this company, that’s saying something.

As Guido, Gutmann is charismatic, enigmatic, and dynamic,  conveying all the difficult qualities of Guido’s personality credibly, but also maintaining a strong presence and a degree of sympathy when needed. His voice is strong and versatile, and he has great chemistry with his co-stars. Karpowicz is also excellent in a somewhat subdued performance as Luisa, managing to convey her frustration and her affection for Guido even when in moments when she is mostly reacting to what is happening around her. Karpowicz also has a strong voice on songs like “My Husband Makes Movies” and “Be On Your Own”. There are also strong performances from Wilkinson as the amorous Carla, Brown as the conflicted Claudia, Merritt as Guido’s Mother, and Kay Love as a sort of narrator figure known as Our Lady of the Spa. There are also especially memorable, dynamic performances from Sarah Lueken as Saraghina–and influential figure from Guido’s school days–who leads the memorable “Be Italian”; and especially Kidd-Booker as the brassy, bold, and theatrical LeFleur, with her showstopping “Folies Bergères” number commanding the stage with humor, presence, and style. The rest of the ensemble is also strong, contributing to the first-rate vocals and the overall tone of the story.

This staging is based on the 2003 Broadway revival version, as opposed to the 1982 original. The scaled-down production is ideal for New Line, and the look is strikingly simple, with a black-and-white color scheme predominating, from Rob Lippert’s white- tiled unit set to the stylish black costumes by Sarah Porter. Matt Stuckel’s lighting adds much in the way of mood and atmosphere to the proceedings, as well, including flickering film-like effects at the beginning–and the great New Line band led by music director Dr. Jenna Lee Moore lends power to the memorable Maury Yeston score.

Nine, being essentially an extended fantasy sequence that deals with a lot of deeply personal issues for Guido. Luisa, and the rest of the characters, can be a little hard to follow at times, but it’s staged and sung so well as to make audiences want to pay attention, and to ponder the issues being dealt with here. There’s drama, occasionally raunchy humor, intensity, and reflection. As is frequent for New Line, it’s a production that is simultaneously simple and complex, bringing out the truth of the material through authentic, credible performances and thoughtful staging. It’s a fantastic production.

Cast of Nine
Photo by Gerry Love
New Line Theatre

New Line Theatre is presenting Nine at the Marcelle Theatre until March 25, 2023

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Urinetown
Music and Lyrics by Mark Hollman, Book and Lyrics by Greg Kotis
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kerman
June 4, 2022

Cast of Urinetown
Photo by Jill Ritter Lindberg
New Line Theatre

“What is Urinetown?” That’s a question that gets asked often in New Line Theatre’s latest production. In terms of the plot, that’s for the audience to find out, but in terms of the show itself, Urinetown is a 2001 musical that gained a lot of accolades when it first played on Broadway. It’s notable for being one of the first “meta-musicals” in the fullest sense of the term. It’s a clever sendup of many of the conventions of musical theatre, as well as some specific shows. It’s a dark comedy and a sharp satire, and at New Line, it’s a memorable experience with an especially strong cast, insightful direction, and a striking aesthetic.

The story, narrated by Officer Lockstock (Kent Coffel) of the police, and the curious, precocious Little Sally (Jennelle Gilreath), tells of a nameless town in the not-so-distant future in which there has been a drought and a major water shortage, and in which a corporation, Urine Good Company, has taken over managing public toilets, which the townspeople are required to use. The part of town where most of the story takes place is home to only one of these public “amenities”, as they are called. The amenity is managed by the imperious Penelope Pennywise (Sarah Gene Dowling), and assisted by the young, increasingly dissatisfied Bobby Strong (Kevin Corpuz), who becomes convinced that the way things are is unfair, as anyone who is caught breaking the rules–including his own father Joseph (Zachary Allen Farmer) is arrested and carted off to the mysterious “Urinetown” as a punishment. Meanwhile, Urine Good Company’s big boss, Caldwell B. Cladwell (Todd Schaefer) is using his considerable influence to bribe Senator Fipp (Colin Dowd) to influence the government to pass new laws that raise the fees for the amenities, much to the public’s distress. When Cladwell’s fresh-faced college graduate daughter, Hope (Melissa Felps), gets lost on her way to work and meets Bobby, that starts a chain of events that leads to much uproar, rebellion, and the revelation of long-held secrets. Ultimately, the story is a highly cynical one, as Officer Lockstock reminds Little Sally that “this isn’t a happy musical”. It’s stylized, occasionally over-the-top, and cleverly sends up many of the tropes audiences have come to expect in the musical theatre canon. There are also some obvious sendups of well-known shows such as Les Miserables and West Side Story, among others. 

The staging is, as is usual for New Line, full of energy and strong singing, featuring a remarkable cast led by the charismatic Corpuz as the earnest, determined Bobby, and the equally excellent Felps as the well-meaning but initially sheltered Hope. There are also strong turns from Schaefer as the greedy, self-important Cladwell, Dowling as increasingly mysterious Pennywise, Marshall Jennings as Lockstock’s loyal counterpart, Officer Barrel, and Dowd as the corrupted, conflicted Senator Fipp.  Coffel and Gilreath hold the stage with excellent presence and timing as the authoritarian Lockstock and the inquisitive, occasionally snarky Little Sally. It’s a strong ensemble all around, with loads of cynical energy and strong vocals. There’s also excellent stylized choreography by Chris Kernan.

This is a demanding show in terms of style, pacing, and overall theming, and all that is done remarkably well at New Line, under the direction of Scott Miller and Kernan. There’s also a strikingly evocative set by Schaefer, meticulously detailed costumes by Sarah Porter, and excellent lighting by Kenneth Zinkl that helps capture the overall dystopian tone of the piece. The excellent New Line Band, led by music director Tim Clark, provides ideal accompaniment, as well.

This is one of those shows that is probably not going to appeal to everyone. It’s remarkably sharp and clever, but it also can be deeply cynical and bleak, so if you are looking for a truly “happy musical”, this isn’t it. It’s witty, incisive, and hilarious at times, though, and a special treat for musical theatre buffs, in that it’s such a precise parody that features many familiar tropes and references, and has a memorable, highly referential score. At New Line, Urinetown challenges, provokes, and ultimately entertains with a superb cast of of local actors and singers. It may not be a happy musical, but it’s certainly a memorable one. 

Kent Coffel, Kevin Corpuz, Marshall Jennings
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Urinetown at the Marcelle Theatre until June 25th, 2022

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