Posts Tagged ‘chris kernan’

Tesseract’s “Red Curtain Rivalry” is a Promising Theatrical Comedy

Posted in St Louis Theatre, tagged , , , , , on July 13, 2023| Leave a Comment »

Red Curtain Rivalry
by Amy Lytle
Directed by Chris Kernan
Tesseract Theatre Company
July 8, 2023

Alora Marguerite, Nic Tayborn, Chrissie Watkins, Beth Knocke
Photo by Taylor Gruenloh
Tesseract Theatre Company

The Tesseract Theatre Company’s Summer New Play Festival is back for 2023, starting off with a comedy that has a lot of potential. Red Curtain Rivalry has a premise that should be relatable to many who are involved in theatre, and it features some fun characters and situations. It’s not without its issues that need work, but for the most part, it makes for a fun evening of theatre “in-jokes” and humorous characterizations. 

The premise is that two community theatres in the same town–the Essence, led by director Yolanda (Dorothy LaBounty), and the W led by Gareth (Kurt Knoedelseder)–have discovered that they are both doing the same play at the same time. As the theatres are across the street from one another and are long-time rivals, drawing from the same pool of local actors, this scheduling creates a series of problems, and as the saying goes, hilarity ensues. The central figures are longtime best friends Ronnie (Luis Aguilar)–a veteran performer at both theatres–and Penelope (Chrisse Watkins), who has recently returned to town from New York City, and who hasn’t done theatre since high school. When Ronnie persuades Penelope to audition for both productions of A Doll’s House: The Musical, she finds herself cast in one production in the same role as former high school friend and community theatre diva Clarissa (Beth Knocke) in the other production. The directors, who notoriously hate each other, strike up an agreement about a competition of sorts among the productions,  expecting that the show’s licensing representative, Judy (Tammy O’Donnell) will be on board with their plan.  Then, rehearsals get going, including a series of complications involving personality conflicts, old grudges, and parental expectations as Clarissa’s father young daughter, Willow (Chloe Kurzym) is also cast along with her mother and grandfather, Herbert (Will Shaw); and exasperated single father Chester (Nic Tayborn) struggles to deal with his bratty, would-be prima donna daughter, Missy (Alora Marguerite). There’s also a running gag involving local prankster Arthur (Gerry Love), who is cast in one of the shows and who seems intent on causing as much chaos as possible. 

This play has a fun premise, with a good deal of humorous moments and some memorable characters, although there may be too many plots to keep track of efficiently. Also, the preponderance of plots leads to a “wrapping up the loose ends” conclusion that comes across as forced. Still, there’s a lot of potential here, and there are some strong performances, especially from Watkins as the reluctant but talented Penelope and Knocke, who brings a welcome degree of nuance to the initially insufferable Clarissa. Aguilar as the somewhat arrogant but well-meaning Ronnie, Love as the mischievous Arthur, and LaBounty and Knoedelseder as the battling directors also have some strong moments, as does Tayborn as Chester, and O’Donnell–who makes the most of a relatively small part as Judy. Kurzym and Marguerite are also credible as two very different young performers, and Shaw does what he can with a small role as Herbert. 

The staging lends much humor to the proceedings, with good pacing and inventive use of the red-curtain-lined set pieces that are used to fun comic effect, as well as near identical set pieces for the play-within-a-play scenes. The set is designed by Brittanie Gunn and Taylor Gruenloh, with lighting by Erin Riley. The technical aspects of the show are fairly basic, but they work well in terms of versatility and service to the plot.

Overall, Red Curtain Rivalry doesn’t do a lot that’s “new” in terms of comedies about theatre, but it’s a fun idea and the performances entertain. There’s a whole lot going on that could be streamlined, perhaps, and the ending needs some work. Still it’s an enjoyable show with an enthusiastic cast, and it’s sure to bring up some relatable memories to anyone who has been involved in community theatre. 

Luis Aguilar, Dorothy LaBounty
Photo by Taylor Gruenloh
Tesseract Theatre Company

Tesseract Theatre Company is presenting Red Curtain Rivalry at the Marcelle Theatre until July 16, 2023

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New Line’s Fun “Forum” Highlights Humor, Excellent Singing

Posted in St Louis Theatre, tagged , , , , , , , , , on June 7, 2023| Leave a Comment »

A Funny Thing Happened on the Way to the Forum
Music and Lyrics by Stephen Sondheim
Book by Burt Shevelove and Larry Gelbart
Based on the plays of Plautus
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kernan
New Line Theatre
June 3, 2023

Kent Coffel (center) and Cast of A Funny Thing Happened on the Way to the Forum
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s latest production is of a well-known show, featuring a score by a legendary composer and a book by two veteran comedy writers. A Funny Thing Happened on the Way to the Forum, based on the works of ancient Roman playwright Plautus, was a hit in the 1960s and has been performed in various venues since then. It does have its dated elements, but at New Line, as usual, there are some new perspectives that emerge. For the most part, this is a show that revels in its humor, and at New Line, the focus is on the strong singing of Stephen Sondheim’s memorable score.

The story is framed as a performance by a dramatic troupe that decides, for this day’s performance, they will be staging a comedy. What results is a slapstick farce set in Roman times, centering on Pseudolus (Kent Coffel), who is a slave in one of the three houses featured in the story. He serves Hero (Ian McCreary), the son of Senex (Robert Doyle), who is heading out of town with his controlling wife Domina (Ann Hier Brown) to visit her family. While they are away, Pseudolus works on a plan to gain his freedom after he notices that Hero has fallen for a young woman he’s seen in the window of the neighboring house, which is essentially a brothel operated by Marcus Lycus (Jason Blackburn). Soon, they find out that the object of Hero’s ardor, the virginal Philia (Sarah Wilkinson), has been purchased sight unseen by the narcissistic general Miles Gloriosus (Danny Brown), who is due to arrive soon to make her his bride. Pseudolus’s plan gets more complicated as the story goes on, much to the frustration of Senex’s chief slave Hysterium (Chris Moore), who reluctantly gets brought into the scheme. Meanwhile, the elderly Erroneus (Gary Cox), who lives in the other neighboring house, returns to town after a long absence, still looking for his long-lost children who were captured by pirates years previously. How all these stories fit together is the source of much of the comedy, which is portrayed here by an enthusiastic cast who are all in excellent voice. 

I had seen this show once before, at the Muny a few years ago. Obviously, a small company like New Line isn’t going to have the elaborate production values or huge stage of the Muny, but New Line has become adept at scaling shows down for its venue, as well as bringing out nuances in stories that bigger productions can gloss over. You could say that there isn’t much room for nuance in a show like Forum, with its broad, bawdy comedy and plot that relies on old standard devices like mistaken identity and mixed-up romance, but while it’s still a broad farce, I found myself looking differently at some of the characters here, such as Domina, who comes across here much better than her lecherous husband, Senex. The dated features of the story are here, with the women being the focus of the jokes much of the time, but the overall silliness here takes precedence, for the most part.

In terms of performances, the cast is especially strong vocally, as is usual for New Line. As for comic timing, some are better than others, and there are moments when the jokes don’t land as they should, but for the most part, it’s a very funny show. Coffel as Pseudolus is ideally cast, with a strong voice and great stage presence and comic ability. Moore as Hysterium also has some memorable comic moments, as do Danny Brown as the self-admiring Miles Gloriosus, and Ann Hier Brown as the domineering but lovesick Domina. McCreary and Wilkinson are well-matched as the wide-eyed lovers, Hero and Philia. There’s also a trio of “Proteans” for an ensemble (Nathan Hakenwerth, Brittany Kohl Hester, and Aarin Kamphoefner) who all play various roles and seem to be having a great time. 

The look of the production is lively and vibrant, with a brightly painted, cartoonish set by Dr. Rob Lippert, and well-styled, colorful costumes by Eileen Engel that help to set the whimsical Roman tone of the show. There’s also good work on lighting by Matt Stuckel and music direction from Joe Simpson, with a strong onstage band conducted by keyboardist Matt Kauzlarich. 

A Funny Thing Happened on the Way to the Forum is an unapologetic comedy that revels in its silliness. Although it’s based on plays from ancient Rome, the overall tone has a 1960s comedy vibe. New Line’s production is a lot of fun, with its small scale again working in its favor. It’s an enjoyable production especially for fans of Stephen Sondheim, goofy comedy, and great singing. 

Sarah Wilkinson, Ian McCreary
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting A Funny Thing Happened on the Way to the Forum at the Marcelle Theatre until June 24, 2023

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New Line’s “Nine” Is a Remarkable Emotional Journey

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

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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New Line’s “Urinetown” is Sharp, Impeccably Staged Satire

Posted in St Louis Theatre, tagged , , , , , , , on June 11, 2022| Leave a Comment »

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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