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Posts Tagged ‘dana lewis’

Oklahoma!
Music by Richard Rodgers, Book and Lyrics by Oscar Hammerstein II
Directed by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
September 12, 2018

Blake Price, Sarah Ellis, Zoe Vonder Haar
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

Oklahoma! is a classic musical. In fact, it’s often thought of as the one that really made “musical theatre” a thing, at least in its modern sense. It’s 75 years old this year, and to celebrate its anniversary, many theatre companies across the country are producing the show. Here in St. Louis, it’s on at STAGES to close out their 2018 season, and the production is all that could be hoped for in a staging of this show. It’s a tradititional staging, for the most part, but being on a smaller scale than most productions of this show I’ve seen, it brings an immediacy and clarity to the relationships that is refreshing, and the casting is about as ideal as I could imagine, especially in the two lead roles.

The story is well-known to essentially anyone who knows the history of musical theatre. Set in the Oklahoma territory at the turn of the 20th Century, it follows a collection of characters and their lives and loves as the world is in the midst of an era of change, both technological and social. The cowboy Curly (Blake Price) is sweet on Laurey (Sarah Ellis), and she’s sweet on him, but they’re both awkward about admitting that. Laurey, who lives on a farm with her Aunt Eller (Zoe Vonder Haar), also has another admirer–mysterious, somewhat menacing farmhand Jud Fry (David Sajewich), but Laurey accepts Jud’s invitation to a town social event to spite Curly, even though she soon regrets her decision. Meanwhile, Laurey’s romantically adventurous friend Ado Annie (Lucy Moon) has her own dilemma–having to choose between her cowboy sweetheart Will Parker (Con O’Shea Creal), who wants to marry Annie, and traveling peddler Ali Hakim (Matthew Curiano), who is being pressured by Annie’s father (John Flack) to marry her. Some of the situations are awkwardly stereotypical by today’s standards, but for the most part it’s an entertaining representation of a bygone era both in terms of history and musical theatre, although the casting especially for Curly and Laurey has brought out a sense of timeless immediacy to the story that I haven’t seen as much before.

I’ve seen this show several times before, and I’ve never seen a Curly and Laurey with better chemistry than Price and and Ellis in this production. Every time they are one stage together, it’s electric, and every scene they have together is believable, crackling with emotional energy and attraction, bringing real magic to moments like “The Surrey With the Fringe On Top” and “People Will Say We’re In Love”. Price is an affable, charming Curly and Ellis is a somewhat more deadpan sarcastic Laurey than I’ve seen before, and her more reflective moments are credible as well. In fact, the dream ballet, with Ellis dancing herself opposite a “Dream Curly” (Nicolas De La Vega) puts the focus on Laurey even more so than other dream ballets I’ve seen. It’s an especially memorable, expertly danced moment. The always excellent Vonder Haar is impressive here as the devoted, spunky Aunt Ellerl, and Moon, O’Shea, and Curiano give strong comic performances in their roles as well. Sajewich is an appropriately broody and menacing Jud, and there’s also an excellent, energetic singing and dancing ensemble to back up the leads, with some impressive choreography by Dana Lewis on big, memorable production numbers like “Kansas City”, “The Farmer and the Cowman” and the title song.

Visually, this production is simply stunning, with a set by James Wolk that brings the Oklahoma prairies to vibrant life on stage, with some truly impressive dimensional scene painting and striking, stylish lighting by Sean M. Savoie. There are also colorful period costumes by Brad Musgrove that serve to celebrate both the era in which the show takes place and the 1940s costume design of the orginal Broadway production. It’s a great looking show, in keeping with classic and timeless style.

This is, simply stated, a fantastic Oklahoma! I especially like the particular focus on Curly and Laurey here, since other productions I’ve seen seem to have them overshadowed by the comic subplot. Even though the comic plots are well-done, the real stars here are Price and Ellis, and their love story makes more sense with these two than it ever has before, at least in productions I’ve seen. It’s a remarkable, vibrant production, appropriate for a 75th anniversary of an important classic musical. Go see it. It’s a whole lot more than just “OK”.

Con O’Shea-Creal, Lucy Moon
Photo by Peter Wochniak, ProfPhotoSTL.com
STAGES St. Louis

STAGES St. Louis is presenting Oklahoma! at the Robert G. Reim Theatre in Kirkwood until October 7, 2018.

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9 to 5
Music and Lyrics by Dolly Parton, Book by Patricia Resnick
Direction and Musical Staging by Michael Hamilton
Choreography by Dana Lewis
STAGES St. Louis
July 26, 2017

Summerisa Bell Stevens, Corinne Melançon, Laura E. Taylor
Photo by Peter Wochniak
STAGES St. Louis

9 to 5 was a hit movie as well as a hit song for Dolly Parton in 1980. The musical based on the film wasn’t exactly a smash hit on Broadway, but it won a few awards and afforded Parton the opportunity to write a whole musical score. Now STAGES St. Louis has brought it here, and it’s definitely a crowd-pleaser. With a strong cast, especially in the three leading roles, and excellent production values, the show serves as an homage to the film as as well as a look back at office culture in the early 198os, as well as featuring some issues that continue to be relevant in 2017.

It’s been a while since I saw the film, but from what I can remember, this musical seems to be a fairly faithful representation, with the addition of a love interest for one character who I didn’t think had one in the movie. Still, the main story is the same, with secretaries at a company called Consolidated being terrorized by their sexist, arrogant boss, Franklin Hart (Joe Cassidy). Veteran secretary and aspiring manager Violet Newstead (Corinne Melançon), self-professed “Backwoods Barbie” Doralee Rhodes (Summerisa Bell Stevens), and the timid, recently divorced newcomer Judy Bernly (Laura E. Taylor) form a bond over their mutual frustration with Hart’s mistreatment.  There are some interesting supporting characters and small subplots, but the main focus, as in the film, is primarily on the central trio, and on the experiences of women in the corporate environment in the early 1980s. Incorporating elements of broad comedy and fantasy, the musical provides a showcase for Parton’s score as well as the talented cast.

Star casting isn’t the draw at STAGES at it was for the film and, to a degree, the musical in its Broadway run. In fact, the roles of Violet and Judy aren’t as inextricably tied to their film portrayals, although the role of Doralee (Parton’s role in the film) is, for the most part. Still, it’s a funny show that requires three memorable leading players, as well as a host of quirky supporting roles.  Melançon is appropriately authoritive and sympathetic as Violet; Taylor brings warmth and energy to the role of the naive Judy, along with an excellent singing voice; and Stevens, in the “Dolly” role as Doralee, displays particularly strong vocals and good comic timing. All three display strong friendship chemistry as well. There are also some memorable “villain” roles, with Cassidy as a suitably self-absorbed Hart and Kari Ely as his devoted and love-struck assistant Roz. There’s a great ensemble, as well, and the production numbers from the famous title song to the fantasy sequences to the upbeat “Change It” are performed with verve and style.

Visually, this production has done a good job of bringing the early 1980s to the stage. James Wolk’s set is evocative and colorful, as are Brad Musgrove’s costumes. There’s also impressive lighting work by Sean M. Savoie that provides atmosphere for the fantasy sequences in particular.

Overall, while I’m not entirely convinced the film needed to be turned into a musical, 9 to 5 at STAGES is an entertaining production. It’s also a story that’s still timely in many ways. Overall, it’s a fun show, and for the most part, as an office comedy, it works.

“Kari Ely, Joe Cassidy
Photo by Peter Wochniak
STAGES St. Louis

STAGES St. Louis is presenting 9 to 5 at the Robert G. Reim Theatre in Kirkwood until August 20, 2017.

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The Drowsy Chaperone
Music and Lyrics by Lisa Lambert and Greg Morrison
Book by Bob Martin and Don McKellar
Directed by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
July 27, 2016

David Schmittou Photo by Peter Wochniak STAGES St. Louis

David Schmittou
Photo by Peter Wochniak
STAGES St. Louis

The Drowsy Chaperone is apparently one of the most popular shows that STAGES St. Louis has produced. I didn’t see their last production, in 2009, nor had I seen any production of the show prior to this latest staging, although now I certainly can see the appeal. This is a tribute not only to “classic” 1920’s musicals, but to the whole concept of musical theatre in general. At STAGES, it’s a well-cast, richly produced, energetic and fun production that’s sure to entertain.

The show is a twist on the concept of the “play within a play”, as a protagonist and musical theatre aficionado identified only as Man in Chair (David Schmittou) introduces the audience to one of his favorite (fictional) musicals from 1928, called The Drowsy Chaperone. Man in Chair is a veritable fountain of information about this show, including anecdotes about the production and biographical information about the original cast members. As he plays the record, the show comes to life in his apartment, and what we see is broad, satirized representation of a typical 1920’s musical, complete with broad humor, a relatively thin plot, stereotyped characterizations, and lots of big, glitzy production numbers. The story follows the wedding plans of Broadway starlet Janet Van De Graaff (Laura E. Taylor) to a man she only recently met, Robert Martin (Andrew Fitch). Her boss, Feldzieg (Steve Isom) wants to keep her from getting married so she won’t leave his show, and ditzy chorus girl Kitty (Dana Winkle) hopes he will consider her as a replacement. There’s also the title character, the Chaperone (Corinne Melancthon), who is “drowsy” because she is constantly drinking, although she tries her best to offer sage advice to Janet. Other characters include would-be Latin lover Aldopho (Edward Juvier), who’s hired by Feldzeig to seduce Janet; the enthusiastic and slightly silly party host Mrs. Tottendale (Kari Ely) and her faithful butler and assistant known only as Underling (John Flack); and the optimistic Best Man, George (Con O’Shea-Creal), for whom tap dancing is the best solution to any problem.  It’s a big cast and a convoluted, extremely self-aware plot, as Man in Chair gets involved in the proceedings and expounds on his own philosophy of life and the purpose and importance of musical theatre.

This is an extremely clever show that both criticizes and celebrates old-style musical theatre, as well as presenting a sympathetic narrator in the person of Man in Chair, who is expertly and wittily portrayed by the superb David Schmittou. His winning performance is the centerpiece of this show as he becomes the point of interaction between the audience and the characters in the play-within-a-play. The rest of the cast is extremely strong as well, with standouts being Melancon as the hilariously “drowsy” Chaperone, Taylor as the glamorously goofy Janet, and Ely and Flack as the hilarious team of Mrs. Tottendale and Underling. Ryan Alexander Jacobs and Austin Glen Jacobs are also a lot of fun as a pair of comically overplayed gangsters. Juvier as Aldopho gives a winning comic performance as well, and Fitch and O’Shea-Creal show off their impressive tap dancing skills as Robert and George. The entire cast is excellent and full of energy as well, highlighting stand-out production numbers like “Fancy Dress”, “Show Off”, “Toledo Surprise”, and “I Do I Do In the Sky”, which also features a strong vocal performance by Kendra Lynn Lucas as Trix the Aviatrix.

The technical aspects of this production are stunning, as well. James Wolk’s set is marvelously versatile, transforming from Man in Chair’s modest apartment to various locations in the play-within-a-play with seamless precision. Sean M. Savoie’s lighting also helps to maintain the whimsical tone of the show, and Brad Musgrove’s costumes are sensational. From Man in Chair’s comfy sweater vest to the more colorful period dresses and suits, and the glitzy glamour of the ensemble in the production numbers, the costumes are a real highlight of the show. The whole tone of 1920’s-meets-present-day is wonderfully achieved in this expertly crafted production.

I’m glad this production at STAGES has served as my introduction to The Drowsy Chaperone. Such a cleverly written, funny and heartwarming musical deserves a first-rate production like this one. It’s truly spectacular, with a fantastic finale. It’s a highlight of the summer theatre season in St. Louis.

Cast of The Drowsy Chaperone Photo by Peter Wochniak STAGES St. Louis

Cast of The Drowsy Chaperone
Photo by Peter Wochniak
STAGES St. Louis

STAGES St. Louis’s production of The Drowsy Chaperone is running at the Robert G. Reim Theatre in Kirkwood until August 21, 2016.

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