Posts Tagged ‘hana s. sharif’

The Rep’s Riveting “Express” is a Visually Dazzling, Well-Acted Must-See

Posted in St Louis Theatre, tagged , , , , , , , on March 25, 2023| Leave a Comment »

Agatha Christie’s Murder on the Orient Express
by Agatha Christie
Adapted by Ken Ludwig
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
March 24, 2023

Armando Durán
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Rep’s shows have long been known to have high production values, but with their latest show, I think they’ve outdone themselves. In this production of Agatha Christie’s Murder on the Orient Express, the technical  aspects are so impressive, they threaten to upstage the also superb cast. It’s a vibrant, thrilling, dramatic, and often humorous staging where every note rings true, and the technical aspects lend a cinematic flair that makes this show a true must-see.

Murder on the Orient Express is one of Christie’s better-known stories, and it’s been filmed several times over the years for the big and small screens. Here, as adapted by Ken Ludwig, the cast has been pared down a little and the story streamlined slightly, but the tone is classic Christie, and Hana Sharif’s brisk direction keeps the story moving along in a well-timed, almost filmlike way, as the legendary Christie detective Hercule Poirot (Armando Durán) tells the story after a brief filmed introduction that has the feel of classic Hollywood cinema. The action begins in a hotel, as Poirot prepares to embark on the storied Orient Express train. He fortuitously runs into his old friend Monsieur Bouc (Jamil A. C. Mangan), who runs the train line and helps Poirot secure a ticket for what he hopes will be a relaxing journey. Soon, however, the detective finds himself surrounded by intrigue, as a collection of disparate characters converge on the train, and of course, there’s a murder. Of course, Poirot has to solve the case, but it’s not easy when everyone around him seems to be hiding something, and the train itself becomes caught in a snowstorm. I won’t give away the conclusion, but it’s one of Christie’s more inventive ones, and it’s made especially believable here by means of staging and the excellent cast.

The memorable characters are cast especially well, with Durán leading the way as the determined, clever Poirot. Mangan, as Bouc, is also strong, showing a lot of charm and energy as he assists Poirot and tries to maintain order on the train. Standouts also include the marvelous Ellen Harvey as the strong-willed, much-married American Helen Hubbard; Gayton Scott as exiled Russian Princess Dragomiroff; Fatima Wardak as the devout, nervous missionary Greta Ohlsson; and Christopher Hickey and Aria Maholchic (the understudy, filling in for principal Margaret Ivy) as the secretive lovers Colonel Arbuthnot and Mary Debenham. Cameron Jamarr Davis is also memorable as Hector MacQueen, private secretary to Joel Moses’s shady, boorish Samuel Ratchet; and Michael Thanh Tran lends strong support as dutiful train conductor Michel. This cast is supported by a small ensemble of Webster University students (Luka Cruz, Kyleigh Grimsbo, Colby Willis, and usually Maholchic), lending to the overall filled-out, movie-like feel of the production. 

Also contributing to that cinematic flair is the truly spectacular set by Tim Mackabee, which meticulously recreates a series of locales, including several train cars, and utilizes the stage’s turntable to magnificent effect, with scene changes meticulously timed to go along with the richly produced, filmlike score by composers and sound designers Charles Coes and Nathan A. Roberts. There are also dazzling projections by Michael Salvatore Commendatore and marvelous lighting by Jason Lynch, contributing to the overall 1930s atmosphere and thrilling tone of the story. There are also excellent period costumes by Fabio Toblini that contribute to the overall atmosphere of the show.

Agatha Christie’s Murder on the Orient Express is a riveting, thrilling, cinematic marvel that captures the essence of classic Christie tales while also maintaining an “Old Hollywood” sense of glamor and style. It’s an expertly choreographed, technically dazzling show that holds the audience’s attention from the very first moment. The cast is excellent, but the set is so spectacular that the train itself becomes a character in the show as well. It’s a wonderful old-fashioned whodunit with style, energy, moments of well-timed humor and credible drama. It’s a remarkable feat for the Rep.

Cast of Agatha Christie’s Murder on the Orient Express
Photo by Phillip Hamer
Repertory Theatre of St Louis

The Repertory Theatre of St. Louis is presenting Agatha Christie’s Murder on the Orient Express until April 9, 2023

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The Rep’s “Christmas Carol” is an Inventive, Energetic Gift that Continues to Entertain

Posted in St Louis Theatre, tagged , , , , , , on November 28, 2022| Leave a Comment »

A Christmas Carol
by Charles Dickens
Adapted by Michael Wilson
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
November 25, 2022

Paul Aguirre, Guiesseppe Jones
Photo by T. Charles Erickson Photo
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis’s holiday tradition is continuing with their lively production of Charles Dickens’s holiday classic, A Christmas Carol. The same adaptation by Michael Wilson that was staged to acclaim last season is back this year, and it seems to have found a new energy the second time around. With much of the same cast and the same stunning production values, the show carries an enduring message and a spirit that only seems more moving this year.

The story is well-known, following the classic Dickens tale with a few modifications, as the miserly, Christmas-hating Ebenezer Scrooge is confronted by a series of ghosts and forced to come to terms with who he was and what he has become, with the chance of reformation.  The casting is mostly the same as last year, and the players are more effective than ever–with Guiesseppe Jones at the center as Scrooge. Jones is joined again by Armando McClain as Scrooge’s longsuffering but optimistic clerk Bob Cratchit; Michael James Reed in a dual role as Scrooge’s maid Mrs. Dilber and the persistent ghost of his late business partner, Jacob Marley; Laakan McHardy, Paul Aguirre, and Eric Dean White as the Ghosts of Christmas Past, Present, and Future, as well as “real-world” merchants in debt to Scrooge; and a host of others repeating their roles from last year, joined by a few newcomers like Peterson Townsend as Scrooge’s cheerful nephew, Fred, as well as the younger adult version of Scrooge himself. There’s also a vibrant youth ensemble in the child and teen roles, split into two groups performing on alternating nights–I saw the “Green” ensemble.

It’s a strong cast all around, with Jones, Reed, and all three Spirits as the standouts once again, along with McClain’s eminently likable Cratchit, and Townsend making a strong impression as Fred. The Rep is also collaborating with local organizations COCA and Big Muddy Dance Company, along with Webster Conservatory, adding cohesive energy to the ensemble.

The production values are as stunning as ever, with the set design by Tim Mackabee, costumes by Dede Ayite, lighting by Seth Reiser, and projections by Hana Kim all contributing to the alternately dramatic, funny, and truly thrilling tone of the production. There’s also excellent work from composers and sound designers Nathan A. Roberts and Charles Coes as well as music director Tre’von Griffith. The music is a surprisingly effective blend of traditional European folk music, familiar carols, and hip-hop influences including a rap sequence and eye-catching dancing, inventively choreographed by Kirven Douthit-Boyd. 

There have been so many versions of A Christmas Carol over the years, and the material has proven to hold up well in various forms, because the classic themes of generosity, kindness, and redemption endure throughout the generations. With the Rep’s intention of making this show an annual event, I thought it might seem stale doing the same adaptation again, but I was mistaken. In fact, this year’s version is even better than last time. It might be nice to see them change up the  adaptations at some point, but this one works so well with all the performance and technical elements pitched just right. It’s an ideal theatrical start to the holiday season in St. Louis.

Cast of A Christmas Carol
Photo by T. Charles Erickson Photo
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting A Christmas Carol until December 30, 2022

This review was originally published at KDHX

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The Rep Dazzles with an Emotional, Technically Impressive “Carol”

Posted in St Louis Theatre, tagged , , , , , , on December 14, 2021| Leave a Comment »

A Christmas Carol
by Charles Dickens
Adapted by Michael Wilson
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
December 10, 2021

Giuesseppe Jones (center) and cast of A Christmas Carol
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

A Christmas Carol is a tale that has been adapted many times, showing the versatility of the source, the classic Charles Dickens novel. For more than a century and a half, the story has been adapted numerous times, for stage, radio, big screen and small. It’s been musicalized, condensed, expanded, and set in different times and places. Now, with plans of establishing an annual tradition, the Rep has brought it to the stage in a version that’s alternately comic and serious, with not a little bit of an ominous, even horror-like tone at times. Utilizing the impressive resources of the Rep, both in terms of technical abilities and the talents of of an excellent cast, crew, and creative team, this is a production that honors the timeless classic while at the same time making it immediate and relatable for modern audiences. 

Upon reflection, I’ve realized that I’ve seen quite a few adaptions of this story over the years, mostly on film and TV, but also including the last time the Rep staged a production five years ago. What I’ve noticed from seeing all these versions is that A Christmas Carol as a story is especially versatile in terms of how it can be adapted depending upon the time, circumstances, and medium. For this new Rep production, the focus seems to be on a more darkly comic interpretation of the material, blended with poignant drama at important moments, and an extensive use of music and striking visuals in telling the familiar story of the confrontation and redemption of miserly moneylender Ebenezer Scrooge (Guiesseppe Jones). The casting of one performer, Michael James Reed, as two highly contrasting characters–Scrooge’s whimsical housekeeper Mrs. Dilber and an ominous, frightening version of the ghost of Scrooge’s late business partner, Jacob Marley–highlights the overall tone of the piece, going for broad comedy on occasion and shifting to near-horror when appropriate. The Ghosts of Christmas Past (Laakan McHardy), Present (Paul Aguirre), and Future (Eric Dean White)–who also double as merchant characters who owe debts to Scrooge–reflect this duality of tone, as well. Also, as is usual for this story, Scrooge’s clerk Bob Cratchit (Armando McClain) and his family, especially his young, ailing son Tiny Tim (Rian Amerikal Page) are the focus for much of the poignancy and emotion.

The staging is energetic and briskly paced, with a lot of focus on music and technical effects, in support of the excellent cast. The use of music–mostly traditional English and European carols and folk songs with some original music and some more modern arrangements–is impressive, as well, with strong work from music director Tre’von Griffith, choreographer Kirven Douthit-Boyd, and composers/sound designers Nathan A. Roberts and Charles Coes. The music and dance–including a rap sequence–works well with the story and supports the action and emotion especially well.  Also contributing to overall technically stunning look and atmosphere of the piece are set designer Tim Mackabee with a vividly realized and versatile set, along with lighting designer Seth Reiser, projections designer Hana Kim, and costume designer Dede Ayite who provides meticulously detailed outfits for the characters ranging in style from traditional Victorian English to the more steampunk-ish look of the Ghost of Christmas Future and his living counterpart, a clockmaker and inventor. The overall design of this show, and the truly thrilling flying effects with Marley, provide for much of the visual impact of the show while supporting the emotional arc of the story.

As for the cast, it’s a fairly large ensemble and everyone is excellent, from Jones as an energetic, miserly and believably softening Scrooge, to McClain and Michelle Hand as the hardworking Cratchits, to Reed in impressively contrasting performances as Mrs. Dilber and Marley. There’s also impressive work from  McHardy, Aguirre, and White as the ghosts and their non-ghost counterparts. Also excellent are Raffael Sears in a dual role as Young Scrooge and Scrooge’s nephew, Fred; and Alegra Batara as both Young Scrooge’s onetime fiancée, Belle, and Fred’s wife. The entire ensemble is strong, as well, including a superb Youth Ensemble–I saw the “Green” group (there is also a “Blue” group that alternates with the Green group). 

A Christmas Carol is a holiday classic story that most people with recognize to some degree. Being a “ghost story” in essence, this tale always has its scarier scenes, but this version emphasizes a lot of the intense moments, so parents should consider that when deciding whether to bring small children. It’s a bit different staging-wise than other versions you may have seen, but this is such a versatile story and this version has a lot of appeal for today’s audiences, with a top-notch cast and truly stunning production values. It’s a timeless tale for the ages, and the Rep’s production tells this classic tale with truth and vibrancy.

Cast of A Christmas Carol
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting A Christmas Carol until December 23, 2021

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A Fast-Moving, Highly Entertaining “Pride and Prejudice” at the Rep

Posted in St Louis Theatre, tagged , , , , , , on December 12, 2019| Leave a Comment »

Pride and Prejudice
by Jane Austen
Adapted by Christopher Baker
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
December 6, 2019

Nick Rehberger, Katie Kleiger
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Rep’s brand new Artistic Director Hana S. Sharif makes her directorial debut with the company with an adaptation of the much-dramatized Jane Austen classic, Pride and Prejudice, and it’s a fun production. Although, as is usual with stage adaptations of literature, there are some liberties taken with the story, this version is extremely fast-paced and comedic, and the leads give compelling and relatable performances. It’s witty and engaging, with sumptuous production values and inventive staging.

The story here is essentially what anyone who knows the book will remember, with a few alterations. For instance, instead of five Bennet sisters as in the novel, there are four, and their age order has been changed around a bit. Jane (Rebecca Haden), Elizabeth (Katie Kleiger), and Lydia (Sydney Leiser) are presented essentially as they are in the book, but Mary (Maison Kelly)–who is the youngest sister here–is something of an amalgamation of book-Mary, her younger sister Kitty (excised from this adaptation), and youngest Dashwood sister Margaret as interpreted in the two most recent filmed versions of another Austen novel, Sense and Sensibility. Also, some characters, such as Georgiana Darcy and Anne DeBourgh, are relegated to off-stage status, mentioned but not seen. This all makes sense in terms of the direction the adapter seems to have taken with the material, which is to focus on the most important characters and relationships, and to play up the comedy while managing to keep most of the characters on a more human scale and out of the realm of caricature. The central relationship, as always, is between the witty second daughter Elizabeth and the seemingly haughty, socially awkward Mr. Darcy (Nick Rehberger), with due time also given to Jane’s courtship with new neighbor and Darcy’s friend Mr. Bingley (Grayson DeJesus), and the initially charming but rakish ways of Darcy’s old acquaintance Mr Wickham (Stephen Michael Spencer), who tries to cast his spell on both Elizabeth and Lydia, with varying degrees of success. What I especially like here is the emphasis on the Bennet parents (Michael James Reed as Mr. Bennet, Michelle Hand as Mrs. Bennet), and their portrayal as genuine flawed human beings rather than caricatures. Mrs. Bennet in particular has often come across as cartoonish in adaptations, and thankfully she doesn’t come across that way here. While she certainly can be single-minded and meddling, the playwright and the production give her a clearly communicated reason for her actions, which I find especially refreshing. Although the second act especially seems to move too fast at times in an effort to get all the important plot points covered, for the most part this is lively, quick-witted and spirited production that preserves the general essence of the novel while also making the story work as a theatrical presentation.

The cast here is, for the most part, excellent and ideally chosen. Kleiger and Rehberger lead the way with their strong personalities and palpable chemistry in a particularly effective pairing as Elizabeth and Darcy, who grow and change believably throughout the production. The sisters are also excellent, with fine performances from Haden as the shy and sweet-spirited Jane, Leiser as the more reckless Lydia, and especially Kelly in a fun performance in this show’s unique interpretation of Mary. There are also convincing performances from DeJesus as the kind, charming Mr. Bingley, Rebeca Miller as Elizabeth’s friend Charlotte Lucas, Blake Segal as the fastidious and over-eager Mr. Collins, and Jennie Greenberry as Bingley’s haughty sister Caroline. Particularly notable, though, are Reed and especially Hand as the Bennets, who bring a real sense of humanity along with humor to their characterizations and their relationship. Hand was also particularly impressive on opening night, dealing with a set furniture malfunction in a thoroughly in-character and appropriately hilarious manner. There are fine performances all around, with the one weaker link being Lizan Mitchell as Lady Catherine DeBourgh, whose wildly over-the-top performance seems like it belongs in a different play than everyone else. Still, that’s a small role and not enough to detract from the overall enjoyment of this delightful production.

In terms of set, designer Scott Bradley has given us something that’s appropriately dazzling, with grand windows and staircases and an excellent use of shadowy rooms behind the main playing area, where the audience is allowed to view the various characters observing one another at various moments. There’s also dazzling lighting by Xavier Pierce and colorful, meticulously detailed period costumes by Dorothy Marshall Englis. The music and sound by Nathan A. Roberts and Charles Coes contributes an effective brightly atmospheric tone to the production, and the projections by Alex Basco Koch contribute well to the transitions between scenes, although they do occasionally suggest an “English travelogue” vibe.

I love Pride and Prejudice, and I’ve seen many adaptations (film, television, and stage) over the years in addition to having read the book a few times. To my mind, this latest version from the Rep strikes a lively tone and pace, bringing out qualities of the characters that have sometimes been ignored in other productions. Austen purists might object to some of the liberties taken, but I think that they are mostly well within the spirit of the piece. It’s a fun, witty, extremely fast-moving show that showcases a classic literary pairing with appropriate emphasis, but also provides a tone and atmosphere that adequately reflects its English Regency setting and Austen’s well-established characters. The adapter, Christopher Baker, even managed to work Christmas into the story in a believable way that makes this work as a holiday show. It’s a treat of a production.

Cast of Pride and Prejudice
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Pride and Prejudice until December 29, 2019

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