Posts Tagged ‘Fox Theatre’

Fantastically Staged “Life of Pi” is a Remarkable Journey at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on October 10, 2025| Leave a Comment »

Life of Pi
Based on the Novel by Yann Martel
Adapted by Lolita Chakrabarti
Directed by Max Webster
Tour Director Ashley Brooke Monroe
The Fox Theatre
October 8, 2025

Taha Mandviwala, puppeteers Anna Leigh Gortner, Shiloh Goodin, Toussaint Jeanlouis
Photo by Evan Zimmerman for MurphyMade
Life of Pi National Tour

Get ready to be dazzled! The Fox Theatre is currently hosting the national tour of Life of Pi, Lolita Chakrabarti’s adaptation of Yann Martel’s celebrated novel, which has also been adapted as a celebrated film in 2012. I had seen the movie, and heard excellent comments about the play, but even the great word-of-mouth and awards won by this show could not have adequately prepared me for what I saw onstage at the Fox. With a fantastic cast led by a truly dynamic lead and truly stunning production values, along with a riveting, poignant story, this Life of Pi is a theatrical marvel.

The story is told in flashback, as teenage Pi Patel (Taha Mandiwala), the only survivor of a shipwreck, is being interviewed in Mexico about his experience by Lulu Chen (Mi Kang) and Mr. Okamoto (Alan Ariano), who are trying to get the true story about what happened to the ship and how Pi survived. As Pi is finally convinced to tell his story, the set shifts and we see where Pi’s story began, in Pondicherry, India in the late 1970s, where Pi and his older sister Rani (Maya Rangulua) have grown up at a zoo run by their parents (Sorab Wadia, Jessica Angleskhan). We learn about the various animals, including a menacing Bengal tiger named Richard Parker (voice by Toussaint Jeanlouis) and an Orangutan named Orange Juice (Angleskhan). We also learn about Pi’s unsual religious beliefs, observing Hinduism, Islam, and Christianity, which help shape his views of what will soon happen to him. As growing unrest in their country leads the family to head to Canada, they pack up their animals and head out on a ship, soon becoming acquainted with the vessel’s crass French cook (Jeanlouis), among others. When the ship inevitably sinks,  Pi finds himself stranded on a lifeboat with Richard Parker, among others, beginning an epic struggle for survival that tests Pi’s faith as well as his physical and emotional limits. 

The sheer physical production of this show is astounding, with a stunningly fluid set by Tim Hatley that creates a colorful, fully realized world that shifts as needed from a sparsely furnished room in Mexico to populous Indian town, to a ship at sea, and to the open ocean surrounded by rolling waves and debris. Andrzej Goulding’s video and animation design complements the set brilliantly, and aided by the dazzling lighting by Tim Lutkin and Tim Deiling and sound design by Carolyn Downing, the audience is brought along on Pi’s eventful journey. There are also excellent costumes by Hatley and a stirring score by composer Andrew T. Mackey. Seated as I was (along with the other critics) in the mezzanine, I was able to witness the full effect of these remarkable production values, and as great as orchestra seats are at the Fox, I recommend sitting higher up for a more immersive experience.

Also worth noting is the truly fantastic puppetry, with marvelous designs by Nick Barnes and Finn Caldwell, and puppeteering by Ben Durocher, Shiloh Goodin, Anna Leigh Gortner, Austin Wong Harper, Aaron Haskell, Jeanlouis, Betsy Rosen, Anna Vomáčka, and Andrew Wilson. The puppeteers blend in with the cast well, bringing these detailed creations to life, including Richard Parker, Orange Juice, Buckingham the goat, Black and White the Zebra, a sea turtle, and more. The cast of human characters work well with the puppets, led by a tour-de-force performace from the magnetic Mandviwala as Pi. It’s a starring role in every sense of the term, and Mandviwala has the presence, wit, intelligence, grit, and energy, along with a dynamic physicality, that is essential in adequately telling this tale. Madiviwala is supported by a strong ensemble with no weak links, as well, with standouts being Jeanlouis as the cook, Wadia as Pi’s stern-but-caring father, and Angleskhan as his devoted mother. The strong ensemble energy adds much to the poignancy and credibility of the story, which blends elements of realism and fantasy in a riveting storytelling journey.

I was somewhat surprised at how many empty seats I saw on press night, considering how fantastic this show is. This is a show that needs to be seen to be believed. It’s a truly astonishing achievement of modern theatre, blending the best in technical theatre advancements and special effects with timeless storytelling and excellent acting. It’s running until October 19th, and I highly recommend checking it out.

Taha Mandivwala (center) and Cast
Photo by Evan Ziimmerman for MurphyMade
Life of Pi National Tour

The National Tour of Life of Pi is running at the Fox Theatre until October 19, 2025

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Smart, Delightful “& Juliet” Remixes Shakespeare at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on May 22, 2025| Leave a Comment »

& Juliet
Music and Lyrics by Max Martin and Friends, Book by David West Read
Directed by Luke Sheppard
Choreographed by Jennifer Weber
The Fox Theatre
May 20, 2025

Rachel Simone Webb, Teal Wicks and Cast
Photo by Matthew Murphy
& Juliet North American Tour

& Juliet is, in my estimation, quite possibly the perfect jukebox musical. I’ve had a bit of a love-hate relationship with jukebox shows, considering a lot of them come across as more of a collection of acted out songs with a contrived book, but there are exceptions. & Juliet, which I first saw in London before it opened on Broadway, not only has a witty, cleverly constructed book, but it puts its collection of hit pop songs written or co-written by Max Martin to excellent use, often making them seem like they were written for this show. The look, sound, and overall  vibe of this show is smart, funny, and thoroughly entertaining, and the North American tour now playing at the Fox is a fantastic iteration of this marvelous show. 

The show is often described as “what would happen if Juliet didn’t die at the end of Romeo & Juliet?” While that description is essentially true, there’s a lot more than that to this plot. I think of it as sort of a marital conflict worked out through theatre, as the premise has William Shakespeare (Corey Mach) about to open his new tragedy when his wife Anne Hathaway (Teal Wicks) shows up and puts a wrench in his plans, declaring his ending unsatisfying and wanting to write her own, for deeper reasons that will be revealed as the show goes on. So Shakespeare hands Anne his quill and she takes over, as Juliet (Rachel Simone Webb) gets her grand entrance, alone in a tomb, singing the Britney Spears classic “Baby One More Time”. The grieving Juliet then goes on an adventure–with continued wrangling for the quill between Shakespeare and Anne–that gives her a group of friends, including her nurse Angélique (Naima Alakham), best friend May (Nick Drake), and other best friend April (a self-insert played by Anne herself). Their journey takes them to Paris, where they meet the shy François (Jaydon Nget), who is being pressured by his father Lance (Paul Jordan Jansen) to either marry or join the army. There’s also a surprise connection between Lance and Angélique, as various entanglements and confusions lead to rushed decisions, unexpected attractions, and many surprises including the appearance of Romeo (Daniel J. Maldonado).

As the story plays out, many themes are explored including journeys of self-discovery including personal agency, gender roles and identity, marital tensions, and parent-child conflictions, along with secrets and revelations and a soundtrack of familiar songs (and one new one–“One More Try”) that are integrated into the story about as well as I’ve ever seen in a jukebox musical. It’s funny, it’s bold, it’s thoughtful and heartfelt, and an excellent blend of Shakespearean themes with modern values and ideas, with a fun aesthetic that combines both eras. 

This is such a fun show, with excellent dramatic structure and fitting all the subplots in well. For me, the most important figures are Juliet and Anne, since Anne basically starts the action and Juliet starts out as something of an avatar for issues that Anne is exploring, although the other characters get their moments to shine, as well. Webb is fantastic as Juliet, with the requisite stage presence and powerful vocals that make Juliet immensely relatable, and Wicks is also terrific vocally, comedically and dramatically as the persistent Anne. Mach is also fun as the somewhat self-centered Shakespeare, displaying strong chemistry with Wicks in their perpetual sparring. Maldonado is also strong as the somewhat goofy, charming but flighty Romeo. There are also excellent turns from Alakham (the understudy) as the loyal, somewhat secretive Angélique and Jansen as the comically stubborn Lance. There’s also a believable relationship between Lance and the endearingly nerdy François, played with believable charm by another understudy, Nget, who also has credible chemistry with Drake’s conflicted, but also funny and likable May. There’s a first-rate ensemble as well, who are involved in various roles from before the story even officially starts, and who support the vibrant production numbers with clever, energetic modern dancing choreographed by Jennifer Weber. It’s a great cast all around, doing justice to the hard-driving soundtrack of hits from the 1990’s and 2000’s that many in the audience will recognize. 

Visually, the show is as dazzling as it is entertaining, with a unique look and vibe that blends Elizabethan stylings with modern touches, as evidenced by Soutra Gilmour’s striking, versatile set, Andrzej Goulding’s marvelous projections and video design, and Paloma Young’s colorful, stylish costumes. There’s a sense of action throughout this show–everything keeps moving–and this momentum is supported by the excellent band led by conductor and keyboardist Andre Cerullo. There’s also eye-catching lighting by Howard Hudson and strong sound design by Gareth Owen. It’s a unique, cohesive look, feel, and overall energetic presentation.

Ever since I first saw & Juliet in London in early 2020, I’ve been waiting for a chance to see it again. It’s such a fun, clever show that should appeal not only to fans of the music, but also to Shakespeare fans and anyone who likes a good story that blends elements of classic theatre with a bold,  contemporary twist. There is some mature content and strong language, so I would rate it as essentially “PG-13” going by movie ratings.  This touring production is entertaining from start to finish, and a delight to see, hear, and experience.

Corey Mach and Cast
Photo by Matthew Murphy
& Juliet North American Tour

The North American tour of & Juliet is running at the Fox Theatre until June 1, 2025

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“Kimberly Akimbo” at the Fox is a Lively, Unconventional Story

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on March 27, 2025| Leave a Comment »

Kimberly Akimbo
Book and Lyrics by David Lindsay-Abaire, Music by Jeanine Tesori
Directed by Jessica Stone
Choreographed by Danny Mefford
The Fox Theatre
March 25, 2025

Cast of Kimberly Akimbo
Photo by Joan Marcus
Kimberly Akimbo US Tour

Kimberly Akimbo is a much-lauded musical that won various accolades for its Broadway run, including the Tony Award for Best Musical. When I heard the tour was coming to the Fox, I was especially looking forward to seeing it, since I had heard so many good things about it. After seeing this unique, small-ish show with big ambitions, I can say that, for the most part, it lives up to the hype, at least in terms of quality. I have a few reservations about some of the characters and plot itself, but there’s no denying that this show has a lot of enthusiasm and heart, and the tour has a truly wonderful cast. 

Kimberly (Carolee Carmello) is a teenage girl with a rare genetic condition that makes her age rapidly so that she looks like an older woman. She has recently moved to a new town in New Jersey with her parents, Pattie (Laura Woyasz)–who is expecting a new baby–and Buddy (Jim Hogan). She also has a shady Aunt Debra (Emily Koch), who her parents are trying to flee, but who manages to find them. Kim attends high school and goes skating at a local skating rink, forming a friendship with the geeky Seth (Miguel Gil) in the process. There’s also a group of teens involved in the school show choir (Grace Capeless as Delia, Darron Hayes as Martin, Skye Alyssa Friedman as Teresa, and Pierce Wheeler as Aaron) who soon become closer with Kim and Seth and get roped into Debra’s latest “slightly illegal” scheme. As Kim approaches her 16th birthday and the parents await a new baby, and the teenagers wait to grow up so they can move on from the awkward high school years, the plot tension grows as Debra continues to scheme but Kim has her own ideas of how to go about it. 

The overall themes of aging–and the fact that the most immature characters are the adults, who seem to have more lessons to learn than the teens–work in with the overall “make the most of your life while you’re living it” theme, and there are some especially insightful moments particularly between Kim, Seth, and the other teenagers. The adult characters can be difficult to like, considering how self-focused they are–but they do have their moments as well. Some of the biggest musical moments are from Debra, and the talented Koch makes the most of these moments with an excellent, powerful voice and strong comic timing, but I do find her plot a bit unsatisfying ultimately, and find myself hoping that Buddy and Pattie–also excellently played by Hogan and Woyasz–do become better parents in the future. Still, the real heart of this show is Kim, Seth, and their high school classmates, and casting there is also fantastic. Carmello makes me forget she’s not actually 16 for most of the play, with her quirky, persistent hopefulness and determination. She’s also well-matched by Gil in a goofily charming turn as Seth. Capeless, Hayes, Friedman, and Wheeler are also marvelous and relatable as the show-choir kids, with strong harmonies in the musical numbers. Also, Danny Mefford’s clever choreography adds a gawky energy to the teens’ dance numbers that’s effectively in keeping with their characters and story.

The set, by David Zinn, is detailed and dynamic, aided by Lucy McKinnon’s video design. There are also colorful, characterful costumes by Sarah Laux, and strong hair, wig, and makeup design by J. Jared Janas. Jeanette Oi-Suk Yew’s lighting is also fantastic, but there are some difficulties with the sound in moments. The orchestra, led by conductor Leigh Delano, lends energy and emotion to the memorable Jeanine Tesori score, as well.

Overall, Kimberly Akimbo is a fascinating, entertaining show with a fantastic score and a great cast. I find it difficult to care much about the adult characters at times, but the teen characters are its heart and soul, especially Kimberly herself. There are many relatable high school moments here, and the themes of making the most of life and taking responsibility are important. I can see why it has resonated with so many fans. I’m glad I was able to see this fantastic touring production at the Fox. 

Carolee Carmello, Miguel Gil
Photo by Joan Marcus
Kimberly Akimbo US Tour

The US Tour of Kimberly Akimbo is playing at the Fox Theatre until April 6, 2025

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Fun Revised “Peter Pan” at the Fox Takes a New Look at a Familiar Classic

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , , , , , on November 14, 2024| Leave a Comment »

Peter Pan
A Musical Based on the play by J. M. Barrie
Lyrics by Carolyn Leigh, Book by Morris (Moose) Charlap
Additional Lyrics by Betty Comden, Adolph Green, and Amanda Green
Additional Music by Jule Styne, Additonal Book by Larissa Fasthorse
Directed by Lonny Price
Choreographed by Lorin Latarro
The Fox Theatre
November 13, 2024

Nolan Almeida, Hawa Kamara
Photo by Matthew Murphy
Peter Pan US Tour

Peter Pan is a classic Broadway musical that has been filmed several times over the years. It has been a hit with audiences in the past, but parts of it have become dated over the years, and the latest production, featuring new additions to the book by Larissa Fasthorse and now on tour at the Fox, has worked to fix some of the problematic elements while retaining the overall spirit and classic story and score. This production, led by several dynamic performers and an energetic young lead, works well as a family favorite and a refreshing update in that, while it does make a few necessary changes, it’s still very recognizably Peter Pan.

One of the more obvious changes is apparent from the outset. The story still starts by introducing the Darling siblings–Wendy (Hawa Kamara), John (William Foon)–and Michael (Camden Kwok) and their harried parents (Shefali Deshpande as Mrs. Darling, Cody Garcia as Mr. Darling), but the setting is no longer Victorian England but the present day, and the dog Nanna has been replaced by a distracted human babysitter, Liza (Hannah Schmidt). This setup works surprisingly well, with the idea of youth vs. “growing up” being introduced in the children’s interests and Mr. Darling’s hyperfocus on his work. Soon, Peter Pan (Nolan Almeida) arrives, and the story plays out essentially as before, but with an elevated role for Tiger Lily (played at this performance by Bailey Frankenberg) and fellow Native American denizens of Neverland, who are given a brief but poignant backstory. There are also the orphaned Lost Boys, who follow Peter and are looking for a mother, and the vengeful Captain Hook (also Garcia), who leads a bumbling gang of pirates and hope to follow through on a personal grudge against Peter. As before, the story is full of humor, adventure, swashbuckling sword fights, and the classic score featuring familiar songs like “I Gotta Crow”, “I’m Flying”, “Distant Melody” and more, with a few additions including the lively “Friends Forever” for Peter and Tiger Lily and their followers, which is a welcome replacement for an outdated previous song.

The performances and staging are lively and energetic, with a charming performance from Almeida as the determinedly youthful Peter, and by Kamara as the resourceful Wendy, who has strong chemistry with Almeida as well as with the delightful young Foon and Kwok as her brothers. Frankenberg, filling in for principal Raye Zaragoza as Tiger Lily, is also excellent and a strong dancer. Garcia in a dual role as Mr. Darling and as the vain, scheming Captain Hook is hilarious and full of energy, supported in a fun comic performance by Kurt Perry as his First Mate, Smee. There’s also a delightful ensemble of Lost Boys, Pirates, and Tiger Lily’s tribe that provide much in the way of humor, enthusiasm, and athletic dancing choregraphed by Lorin Latarro. 

The production values are especially impressive and adaptable for a tour, with a versatile set by Anna Louizos that features some clever transitions, as well as thrilling projections designed by David Bengali and dynamic flying moments choreographed by Paul Rubin. There are also colorful costumes by Sarafina Bush, as well as striking lighting by Amith Chandrashaker. 

Overall, this Peter Pan is a lot of fun, with action, humor, and lots of heart. It’s a welcome and appropriately updated production that works well while keeping the essence of the story of the struggle between the desire to grow up fast and maintaining the adventure and freedom of youth. It’s an entertaining, tuneful and visually stunning treat for all ages. 

Cast of Peter Pan
Photo by Matthew Murphy
Peter Pan US Tour

The National Tour of Peter Pan is running at the Fox Theatre until November 24, 2024

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Dazzling “Moulin Rouge!” Glories in Excess at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , on May 3, 2024| Leave a Comment »

Moulin Rouge! The Musical
Book by John Logan
Based on the 2001 Twentieth Century Studios Motion Picture written by Baz Luhrmann and Craig Pearce, Directed by Baz Luhrmann
Directed by Alex Timbers
Choreographed by Sonya Tayeh
The Fox Theatre
May 1, 2024

Robert Petkoff and Cast
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

“Truth! Beauty! Freedom! Love!” The newest touring production onstage at the Fox, Moulin Rouge! The Musical, has all that and more, throwing everything it can onstage in terms of music, style, production values, intense emotions, and a seemingly endless list of pop music hits. Even though it’s not quite as dazzling as Broadway simply due to the limitations of touring, this show pulls out all the stops with impressive flair. The great cast is also a major selling point.

The show, based on Baz Luhrmann’s buzzy 2001 hit film, follows the same basic plot as the film but throws in a lot more music, including many songs that have become hits since the movie first came out. Pop hits from the 20th and 21st centuries along with some notable opera themes highlight this story set in late 19th Century Paris and centered around a group of ambitious artists and performers as the fabled Moulin Rouge venue. The love story of aspiring songwriter Christian (Christian Douglas) and Moulin Rouge headliner Satine (Gabrielle McClinton) features humor, romance, melodrama, tragedy, and a heavy dose of idealism. It’s also a celebration of the performing arts and art in general, with Christian and his compatriots Toulouse-Lautrec (Nick Rashad Burroughs) and Santiago (Danny Burgos), along with the performers at the club and emcee Harold Zidler (Robert Petkoff) rehearsing a new show and struggling to keep the venue alive. Of course, there’s also the villain, the self-centered and possessive Duke of Monroth (Andrew Brewer), who insists on controlling the club–and Satine–for his own interests. 

Even though there is a plot, that’s not what drives this show ultimately. It’s all about spectacle, the chemistry of the performers, and all those songs performed with appropriate intensity and over-the-top style. The cast is great, for the most part, led by the charmingly optimistic Douglas as Christian, whose strong vocals and likable stage presence hold attention–along with McClinton in an excellent turn as the talented and tragic Satine. These two light up the stage with their chemistry. Petkoff as Zidler is also impressive, as is Burroughs as a particularly sympathetic Toulouse-Lautrec, and Burgos as the humorously bold Santiago. Sarah Bowden also stands out, making the most of a smaller role as Nini, one of the club’s more prominent performers. Brewer makes the most of his role as Duke even though the character doesn’t have much in the way of depth. There’s also a fantastic ensemble of singers and dancers backing up the leads, filling out the spectacular production numbers and adding appropriate pizzazz to Sonya Tayeh’s sparkling choreography.

Physically, the show looks great as well, if not quite as grand as it did on Broadway when the set was built into the theatre for a more immersive experience. This is a tour, though, so that immersion factor is a bit limited, although Derek McLane’s flashy, stylish set fits in well at the Fox and matches the overall style of the theatre. The costumes are also superb, designed by Catherine Zuber to fit in with the fashions of the era with a bold range of colors and textures. There’s also dazzling lighting by Justin Townsend and impressive sound by Peter Hylenski, as well as an excellent orchestra led by music director Andrew Graham. The look, atmosphere, and overall vibe of the show echoes the film, but doesn’t exactly copy it, and that works well considering the transition to a theatrical setting.

If you saw the movie, you will definitely notice changes, especially in terms of the music. Although prominent songs such a “Your Song”, “Nature Boy”, and the original (for the film) “Come What May” are still prominently featured, there are many new hits added to the mix, some of which are more heavily features with some showing up for only a few lines. The music and overall style of this show are the stars here, with the strong cast giving their all and providing for a deliciously over-the-top experience at the theatre. 

Christian Douglas, Gabrielle McClinton
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

The US tour of Moulin Rouge! The Musical is running at the Fox Theatre until May 12, 2024

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“Funny Girl” Tour Showcases Its Star, Despite Uneven Script

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , on January 25, 2024| Leave a Comment »

Funny Girl
Music by Jule Styne, Lyrics by Bob Merrill
Book by Isobel Lennart, Revised Book by Harvey Fierstein
Directed by Michael Mayer
Choreographed by Ellenore Scott
The Fox Theatre
January 23, 2024

Katerina McCrimmon, Izaiah Monteque Harris
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

The recent Broadway revival of Funny Girl was certainly not without controversy. Even though this show has always been sort of overshadowed by the reputation of its original star, Barbra Streisand, the revival had its own casting drama that went beyond Streisand comparisons. While the show has closed on Broadway, the tour is going strong, and even though the show itself is hardly worthy of decades of hype, it’s still a fun vehicle for the right performer. And in this tour, in terms of sheer talent and energy, Katerina McCrimmon makes a strong case for being the “Greatest Star” that this show needs.

The story, as anyone who is familiar with the show knows, is a highly embellished rags-to-riches story following famous comic performer Fanny Brice (McCrimmon), who starts out as an unknown from Henry Street and eventually becomes the toast of the famed Ziegfeld Follies, eventually appearing in radio, film, and TV, as well. The story follows her humble beginnings trying to break in to show business, meeting dancer Eddie Ryan (Izaiah Monteque Harris), who helps her get her first job, where she is eventually noticed by ambitious businessman and gambler Nick Arnstein (Stephen Mark Lukas), who charms his way into her life and eventually marries her. The show is at its strongest when showcasing Fanny’s talents–from her first big solo “I’m The Greatest Star” to well-known hits “People” and “Don’t Rain on My Parade” to her final torch-song “The Music That Makes Me Dance”, along with her glitzy, choreographed Follies numbers. Her relationships with Eddie and her mother (Barbara Tirell) are also memorable, as are her early moments with Nick, although in the second act the romantic drama becomes something of a slog. Also, the scenes with Mrs. Brice and her poker pals Mrs. Strakosh (Eileen T’Kaye) and Mrs. Meeker (Hannah Shankman) can distract unnecessarily from the main story. Still, this show is it its best when it centers on Fanny herself, and even though the first act is better than the second–until the memorable finale–for the most part it’s an entertaining, well-cast show. 

One of the odd phenomena surrounding this show, though, is that now, Brice herself isn’t as well-known as the performer who originated the role in the first Broadway production of this play, as well as the movie, and whenever anyone hears the name “Fanny Brice” or Funny Girl, the first name that comes to mind is usually Streisand’s. The audience members sitting behind me at the Fox are testament to this, as they wondered who else could live up to that illustrious reputation. Well, I’m pleased to say that McCrimmon does about as excellent a job as I can imagine, and the audience appeared to agree with me, giving her thunderous applause after her big numbers and an enthusiastic ovation at the end. McCrimmon is great with the comedy and the drama, and her powerful voice does justice to the score. She doesn’t copy Streisand, although there are a few moments in “People” especially in which she evokes memories of the legendary singer. Still, this show is about Fanny Brice, not Barbra Streisand, and that is reflected well in the strong direction. There are also standout performances by Harris–a tap-dancing marvel–as Eddie, and Tirrell as the feisty, supportive Mrs. Brice. Lukas also brings a good deal of charm and charisma, as well as a great voice, to the role of Nick, even though I still find it difficult to sympathize with his character. There’s also a strong, enthusiastic ensemble, especially in the Ziegfeld numbers, and energetic choreography by Ellenore Scott.

The show looks good, as well, for the most part, except for a few awkward set pieces in the Henry Street scene. Still, the set by David Zinn, costumes by Susan Hilferty, and lighting by Kevin Adams bring out a credibly authentic mood reflecting the early 20th Century time period and “Old Broadway” setting. The sound is a bit low in parts, and especially early in the show, the songs can be difficult to understand, although this does improve noticeably as the show goes on. The orchestra, led by music director Elaine Davidson, does a great job with the classic Jule Styne score, as well.

So, as I’d say with any production of Funny Girl, if you’re looking for Barbra Streisand, you won’t find her here. Still, if you’re looking for a funny, talented, big-voiced talent that can light up a stage, you will certainly find her in this production on tour at the Fox. It’s not a perfect show, but the star is excellent, supported by a great cast, and this show makes for an entertaining evening of musical theatre. 

Stephen Mark Lukas, Izaiah Monteque Harris, Katerina McCrimmon
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

 

The North American tour of Funny Girl is running at the Fox Theatre until February 4, 2024

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“Mockingbird” Tells a Dynamic, Memorable Tale at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on March 3, 2023| Leave a Comment »

Harper Lee’s To Kill a Mockingbird
by Aaron Sorkin
Directed by Bartlett Sher
The Fox Theatre
February 28, 2023

Justin Mark, Richard Thomas, Melanie Moore, Steven Lee Johnson
Photo by Julieta Cervantes
To Kill a Mockingbird National Tour

The latest adaptation of To Kill a Mockingbird highlights the works of two celebrated writers–Haper Lee, who wrote the classic novel, and playwright and screenwriter Aaron Sorkin, who created the script for this new stage version. Directed by Bartlett Sher, this production shifts the focus slightly while still emphasizing the timeless themes of the novel. The touring production, currently on stage at the Fox, also boasts a strong, memorable cast and a remarkable technical presentation, along with fast-paced, dynamic staging to tell this classic story in a truly memorable way.

The novel is such a classic that it’s been assigned in school for generations, and many Americans have read it or at least seen the celebrated 1962 movie starring Gregory Peck, or one of the many productions of the previous stage version by Christopher Sergel. It’s a story many are familiar with, so a new adaptation was always going to be a challenge, even for the award-winning Sorkin. The resulting script is fast-moving and dynamic, changing the focus slightly to center in more on lawyer Atticus Finch (Richard Thomas) than his daughter, Scout (Melanie Moore), who is the protagonist of the novel, although Scout still has a prominent role here, narrating the show along with her brother, Jem (Justin Mark), and new friend, Dill (Steven Lee Johnson). The story is told in semi-linear fashion, alternating between the trial of Tom Robinson (Yaegel T. Welch)–a Black man who Atticus defends against a false rape charge–and events in the lives of the Finch family and the townspeople as the trial further exposes the ingrained racist system and culture of the old South, and Atticus himself is challenged by the family’s housekeeper Calpurnia (Jacqueline Williams). 

Calpurnia and Robinson are given a bit more focus here, as well, with Welch getting some compelling moments in the trial, and Williams making a strong impression in scenes with Atticus and the children. The children are played by adults here, which may seem like a strange choice, but it works, and all three performers are convincing, from the gutsy Moore as Scout; to the confrontational Mark as Jem; to the impulsive and verbose Johnson as Dill. There’s also strong support from David Manns as the sympathetic Judge Taylor, and a chilling turn from Joey Collins as the threatening, racist Bob Ewell, father of Robinson’s accuser, Mayella, who is played with a credible blend of fear, evasiveness, and anger by Arianna Gayle Stucki. Also notable are Jeff Still as the “town drunk”, and Robinson’s employer, Link Deas, and Mary Badham, who so memorably played Scout as a child in the film, who now has a brief but memorable role as Mrs. Henry Dubose, who is essentially the opposite of Scout–a cranky, critical, racist old woman who has a few confrontational run-ins with Scout and Jem. Thomas, as Atticus, is excellent, and believable as the noble lawyer as well as a man who is forced to confront his own flaws. It’s a very human portrayal, and his scenes with Moore, Mark, Johnson, and Williams are especially effective. There’s a fairly large ensemble here for a touring play, and everyone is strong, adding a cohesive energy to the production and its evocation of a specific place and historical era.

Technically, the show also impresses, with Miriam Buether’s versatile set moving smoothly between the Finch’s house and the courtroom, among other areas as needed. Ann Roth’s costumes are equally impressive, meticulously crafted with period detail and suiting the characters well and in keeping with the era, as is the hair and wig design by Campbell Young Associates. There’s also memorable, atmospheric lighting by Jennifer Tipton and proficient sound by Scott Lehrer.

Although there are needed moments of humor that are well-placed, To Kill a Mockingbird is an intense play, with important, serious subject matter dealing with issues of racism, along with abuse, bullying, and parental neglect. It also features some strong language, including frequent use of racial slurs, and suggestions and descriptions of abuse and assault. It’s a well-crafted drama featuring some truly remarkable performances, and to my mind, much more effective than the previous adaptation I have seen. Its a very human drama, speaking as much to today as it does to the time in which it is set. Like every adaptation of this book I’ve seen, it does streamline the story and leave some things out, but it does so with precision and insight. It makes me want to read the book again. It’s a remarkable adaptation, and a production that needs to be seen. 

Yaegel T. Welch, Stephen Elrod, Jacqueline Williams, Richard Thomas
Photo Julieta Cervantes
To Kill a Mockingbird National Tour

The national tour of Harper Lee’s To Kill a Mockingbird is running at the Fox Theatre until March 12. 2023

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Disney’s “Frozen” Wows With Technical Magic, Heartfelt Message at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , on November 4, 2022| 1 Comment »

Frozen
Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Book by Jennifer Lee
Directed by Michael Grandage
Choreographed by Rob Ashford
The Fox Theatre
November 3, 2022

Caroline Bowman, Lauren Nicole Chapman, and cast of Frozen
Photo by Matthew Murphy
Frozen North American Tour

Frozen has become a household name these days, starting with the hit Disney film, which spawned a sequel, and a Broadway musical that’s enjoyed a popular North American tour. The modern classic tale of magic, the love of family (both biological and found), and overcoming fear has now landed at the Fox, in a production that’s technically stunning to the point that I haven’t seen in a touring production, as well as boasting a strong cast and a memorable score. 

If you’ve seen the movie, you’ll know the plot, although there are a few additions and expansions to the story for the stage version. Still, it’s a fairly faithful translation from screen to stage, centering on a pair of royal sisters. Elsa (Caroline Bowman), the heir to the throne of the fictional kingdom of Arendelle, has magical ice-creation powers that she’s hidden since childhood when she (played as a child by Sydney Elise Russell at the performance I saw) accidentally lost control of her power and injured her younger, non-magical sister, Anna (Aria Kane as a child at my performance, Lauren Nicole Chapman as an adult). The princesses’ parents, King Agnarr (Kyle Lamar Mitchell) and Queen Iduna (Belinda Allyn), are concerned, and after summoning the “hidden folk” led by Pabbie (Tyler Jimenez) to heal Anna and remove her memories of Elsa’s magic, they swear Elsa to secrecy and encourage her to hide her power. Upon their parents’ unexpected death in a shipwreck, the princesses live a reclusive life in the palace until the day arrives for Elsa’s coronation as Queen. The fearful Elsa, who has shunned her sister to protect her, welcomes the public to the palace for the first time in years, which leads to a series of events that changes everyone’s lives and threatens the survival of the kingdom. Along the way, Elsa has to learn what to do with her great power, and she and Anna learn about the power of love–familial for the sisters, but also of the romantic variety for Anna, as she falls quickly for the newly arrived Prince Hans (Will Savarese), while later finding herself drawn to mountain-dwelling ice-seller Kristoff (Dominic Dorset), who helps her look for Elsa after a catastrophic mishap sends the Queen fleeing to the mountains. 

This is a fairly well-structured show, although perhaps a little too much time is given to the prologue, and the finale seems a little bit rushed. Still, it’s a thrilling adventure for the most part, and sure to please fans of the movie. All the well-known characters are here, from the sisters to the mysterious Prince Hans, to the brave and loyal Kristoff and his reindeer friend, Sven (Collin Baja at the performance I saw, aided by a magnificent costume/puppet), and the lovable snowman Olaf (Jeremy Davis, operating a well-realized puppet). The music is familiar as well, with favorites like “Do You Want to Build a Snowman?” and the iconic “Let It Go” joined by a few new songs for the stage. 

The cast is excellent across the board, with memorable performances and an excellent sisterly bond from Bowman as the conflicted, secretive Elsa and Chapman as the energetic, adventurous Anna. While Elsa is prominent in the show, and Bowman shines in her scenes, showing off her powerful vocals on “Let It Go”, in the stage version especially, this comes across more as Anna’s story primarily, and Chapman does a commendable job holding the audience’s attention with her excellent vocals, comic timing, dramatic ability, and dance skills. The young Russell and Kane are also strong as the sisters in the prologue scenes. There are also standout performances from the engaging Dorset as Kristoff, whose scenes with Chapman are a highlight; and Savarese, whose Hans is suitably charming upon his introduction. Davis as Olaf is also a delight, providing comic relief as well as some heartwarming moments without ever going over-the-top. The puppetry, designed by Michael Curry, is stunning here, as well, also lending realism and wonder to the role of Sven, who is acted beautifully by Baja in a fully articulated reindeer outfit. Michael Milkanen also has a notable moment here as shopkeeper Oaken, who leads the bright and hilarious Act 2 opening number “Hygge”. There’s great work from all the players here, and striking, energetic choreography by Rob Ashford that helps move the story along well. 

As good as the cast is, however, the biggest star in this production is the technical wizardry that provides many “ooh” and “ahh” moments in the show. The glorious set and costumes by Christopher Oram and the special effects by Jeremy Chernick are probably the most elaborate and impressive that I have seen in a touring production of any show. Along with the dazzling lighting by Natasha Katz and video design by Finn Ross, these technical elements truly draw the audience into the world of Arendelle, first in the richly appointed castle and then into the awe-inspiring, wintery mountain landscape. It’s a magnificent technical achievement that serves the story well and inspired applause in at least one notable moment later in the show.

Frozen is certainly a crowd-pleaser. It’s also a heartfelt, occasionally thrilling story with a clear message about overcoming fear and the importance of love–not just romantic, but also (and especially) love of family. It’s appealing for all ages, as well.  It’s been a while since I had seen the movie, but the stage version strikes me as an especially fine, successful adaptation. 

Dominic Dorset, Colln Baja
Photo by Matthew Murphy
Frozen North American Tour

The North American Tour of Frozen is running at the Fox Theatre until November 13, 2022

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“Mean Girls” Entertains at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , on February 17, 2022| Leave a Comment »

Mean Girls
Book by Tina Fey, Music by Jeff Richmond, Lyrics by Nell Benjamin
Directed and Choreographed by Casey Nicholaw
The Fox Theatre
February 15, 2022

Cast of Mean Girls
Photo by Jenny Anderson
Mean Girls North American Tour

Mean Girls, the movie, is one of those films that I feel like I’ve seen even though I haven’t. It’s become so ingrained in the culture, especially for people who were high school age when it came out, that it’s been the subject of much quoting and meme-ing over the years since it was first released in 2004. I’ve heard so much about it since then, even though I’m a little older than its main demographic. Now, the tour based on the 2018 Broadway musical, adapted by original film writer Tina Fey along with Jeff Richmond and Nell Benjamin, is onstage at the Fox, which is my first time actually seeing this story directly. For the most part, it’s an entertaining production that certainly makes the audience happy, and features some excellent performances in its lead roles. There’s also a whole lot of energy, if not necessarily a lot of story elements that haven’t been done before.

It’s a high school story, and as such the musical contains a lot of the typical “high school movie” tropes, with cliques, quests for popularity, teenage romances, and more. The action here centers on Cady Herron (Danielle Wade), a newcomer to North Shore High School after having been raised in Kenya and homeschooled. The story is narrated as “A Cautionary Tale” according the show’s opening number, by artsy kids Janis (Mary Kate Morris) and Damian (Eric Huffman), who take it upon themselves to befriend Cady and help her find her place at the school among its many social groups. Soon, however, she is introduced to the “Plastics”, a group of influential but manipulative girls led by the self-centered Regina George (Nadina Hassan), who along with the insecure Gretchen (Olivia Renteria) and ditzy Karen (Jonalyn Saxer), tries to dominate the social scene at the school. Cady is soon immersed in the world of the Plastics, sitting with them at lunch and being adopted into their group while still trying to maintain friendships with “outcasts” Janis and Damian, as well as trying to court the attention of calculus classmate and Regina’s ex, Aaron Samuels (Adante Carter), to whom she is attracted. Inevitably, Cady learns that all this trying to reinvent herself doesn’t exactly pay off, and lessons are learned by all about the nature of friendship. authenticity, and acceptance.

Mean Girls, as staged on tour, is a fun show with some memorable numbers and an energetic cast, but there’s not much here that hasn’t been done in a variety of high school stories going back decades. Also, for anyone who hadn’t seen the film, the story is somewhat hard to follow especially in the first act because so much of the story is told in the songs, which the uneven sound mixing made difficult to understand. Still, the cast gives their all, with some impressive performances especially from Wade as the likable but conflicted Cady, Carter as the sweet-natured but also conflicted Aaron, and Huffman and Morrissey who are quirky and ideal narrators as Damian and Janis. There’s also a sweetly goofy performance from Lawrence E. Street as school principal Mr. Duvall, and a versatile multi-role turn from April Josephine as Cady’s mom, Regina’s mom, and influential math teacher Ms. Norbury. The Plastics are also memorable, with excellent comic timing from Renteria (the understudy) and Saxer, and a strong sense of presence from Hassan as Regina. The singing is strong throughout, and the dancing, choreographed by director Casey Nicholaw, is enthusiastic and full of energy. There’s a strong ensemble filling out the cast, as well, and all seem to be having fun with this somewhat busy but entertaining story.

Technically, aside from the aforementioned sound issues, the show dazzles. There’s a bright, colorful, and versatile set by Scott Pask, as well as fun and clever video design by Finn Ross and Adam Young and lighting by Kenneth Posner. The colorful costumes by Gregg Barnes, hair design by Josh Marquette, and makeup by Milagros Medina-Cerdeira also contribute to the overall bold and whimsical tone of the production. 

If you’re expecting Mean Girls to be fun and full of energy, you won’t be disappointed. I can’t say anything about the adaptation from the film because I haven’t seen the movie, although this show did make me want to see it. This show isn’t world-changing or deeply profound, but it’s got a great cast, vivid characters, and a fun sense of humor. It’s an entertaining way to spend an evening at the Fox.

Adante Carter, Danielle Wade
Photo by Joan Marcus
Mean Girls North American Tour

The North American tour of Mean Girls is running at the Fox Theatre until February 27, 2022

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Energetic, Character-Driven “Prom” Dances Into the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on January 29, 2022| Leave a Comment »

The Prom
Book by Bob Martin & Chad Beguelin
Music by Matthew Sklar, Lyrics by Chad Beguelin
Directed and Choreographed by Casey Nicholaw
The Fox Theatre
January 28th, 2022

Kaden Kearney
Photo by Deen Van Meer
The Prom North American Tour

The Prom is a Tony-nominated musical with several St. Louis connections among its producers. It also was made into a Netflix film with an all-star cast. Here, in the show’s touring company based on the Broadway production, there are no “household names” in the cast, but there’s plenty of star power and a lot of energy on stage at the Fabulous Fox, as the story of a small town high school, a teenage girl,  a prom controversy and some (eventually) well-meaning Broadway meddlers comes to St. Louis in a memorable and crowd-pleasing production.

The story starts where this show earned its accolades: on Broadway, as  a pair of egotistical veteran Broadway performers, Dee Dee Allen (Ashley Bruce) and Barry Glickman (Patrick Wetzel) are at a swanky after party for their just opened musical about Eleanor Roosevelt, where they played the leads. When the reviews don’t go so well and their publicist, Sheldon Saperstein (Thad Turner Wilson) tells them their narcissistic image needs improving, they get the idea of doing some kind of good deed to get publicity. Their colleague, perpetual chorus member Angie (Emily Borromeo) looks on her phone and sees a trending story about high school student Emma (Kaden Kearney), a lesbian who has been told that she can’t take another girl to the prom with her, so the school has canceled the prom altogether. The three, along with Sheldon and  “between gigs” actor Trent (Jordan Alexander), decide that they will make Emma their cause, and so they head to Indiana. At the high school, Emma struggles with the idea of being the “face” of a growing controversy and being ridiculed by her classmates and blamed for the lack of a prom. Meanwhile, her intended prom date, Alyssa (Kalyn West), is afraid to go public because nobody knows about her sexual orientation or her relationship with Emma, including her perfectionist mother, PTA president Mrs. Greene (Ashanti J’Aria), who is strongly opposed to the idea of holding an inclusive prom. The school’s principal, Mr. Hawkins (Christopher McCrewell), is on Emma’s side, and is trying to go through legal channels to help, but finds his plans and his life disrupted by the arrival of the actors, including Dee Dee, of whom he is a longtime fan, but who may not live up to his idealistic image of her.

That description is just the beginning, as we learn more about the characters as the story plays out in sometimes predictable but sometimes surprising ways. It’s mostly a broad comedy with a lot of knowing humor about theatre and Broadway actors in particular, as well as portraying inter-generational friendships and lessons in tolerance, communication and, as one upbeat song explains, the biblical ideal of “Love Thy Neighbor”. There’s exuberant dancing choreographed by director Casey Nicholaw, as well as some more humorous and poignant moments. It’s a fun show, with a lot of big, Broadway energy and good deal of small town charm.

The cast is especially strong, and particularly impressive in that there are more than a few understudies performing. Bruce, Wilson, Alexander, and McCrewell were all covering for the principal performers, and all gave excellent performances and wouldn’t be easily picked out as understudies, except that Bruce slightly underplays the over-the-top Dee Dee. The standouts, though, are the terrific Kearney, who shows off a lot of heart, stage presence and a great voice as Emma, and Wetzel, as the larger-than-life Barry, who has some great bonding moments with Emma. There’s also a strong and enthusiastic ensemble to fill out the cast.

Technically, the show is big, bold, and colorful, with dazzling sets Scott Pask that fill out the Fox stage well, as well as excellent detailed costumes by Ann Roth and Matthew Pachtman. Natasha Katz’s lighting also adds sparkle and style to the proceedings, and Brian Ronan’s sound design is crisp and clear. There’s also a strong orchestra conducted by Chris Gurr. 

There are a lot of memorable characters in The Prom, and an overall emphasis on the importance of communication, humility, kindness, and bravery as well as tolerance and acceptance. With a fun, memorable score and a big, enthusiastic cast, it entertains and leaves a memorable impression. It’s a show I had heard a lot about, and I’m glad I finally was able to see.

Cast of The Prom
Photo by Deen Van Meer
The Prom North American Tour

The North American Tour of The Prom is playing at the Fox Theatre until February 6, 2022

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