Posts Tagged ‘heather beal’

Stellar Cast Sings Melodic “Blues in the Night” at the Black Rep

Posted in St Louis Theatre, tagged , , , , , , on September 21, 2024| Leave a Comment »

Blues in the Night
by Sheldon Epps
Directed by Ron Himes
Choreographed by Heather Beal
The Black Rep
September 18, 2024

De-Rance Blaylock, Adrianna Jones, Amber Alexandria Rose
Photo by Keshon Campbell
The Black Rep

The Black Rep’s introduction to their 2023-2024 season is a tuneful revue that showcases the impressive musical abilities of the cast, music director, and band. With a title like Blues in the Night, the show’s atmosphere and genre are made clear, as the alternately sultry, smooth, and yearning sounds of blues and jazz classics inform the 1930s setting and mood in this production that is more about sound, mood, and culture than plot. 

According to the program, the setting is Chicago in the late 1930s. The location is a rooming house or hotel, with three neighboring residents billed as The Lady (De-Rance Blaylock), The Woman (Adrianna Jones), and The Girl (Amber Alexandria Rose). While there isn’t any real dialogue, there is a bit of narration by The Lady, as she introduces her neighbors and their situations. She herself is a veteran stage performer at the twilight of her career, reveling in memories of the past, while The Woman is elegant and stylish but lonely, while The Girl is younger and less experienced in life, eager to experience the joys of romance. Meanwhile, The Man (J. Samuel Davis) hovers around the scene, commenting on the state of the women’s situations while trying to pursue some romantic action of his own. The general themes featured in the classic blues songs are highlighted throughout the evening–of lonely but still hopeful women, rakish and irresponsible men, and the various struggles in the relationships between men and women. There’s an overall “nightclub” atmosphere as well, represented by a bar and the house band, with whom the various performers interact from time to time, which adds to the overall jazzy and bluesy mood of the show.

The “Night” part of the title is represented in the music, but also in the production values, from the well-appointed set by Jamie Bullins, to the detailed costumes by Gregory J. Horton, and especially the evocative lighting by Travis Richardson, emphasizing tones of blue, red, and purple. The sound by Justin Schmitz and the lively band led by music director and pianist Khalid McGee add much to the overall quality of the show, delivering tune after tune in style and working well with the singers. There are also fun moments of smooth and energetic choreography by Heather Beal, danced especially well by Jones and Davis.

As for the singers, they are nothing short of spectacular, delivering all the emotion and musicality of the blues and jazz numbers, as well as presenting strongly realized characters through song. Blaylock has quickly become one of my favorite singers in the St. Louis theatre scene, and she doesn’t disappoint here, delivering some powerful numbers displaying her full range and vocal control, with moments of wit as well as intense emotion. Jones and Rose are also excellent, with Jones especially displaying strong dance ability along with impressive vocals, and Rose having some strong emotional moments as well. The always excellent Davis lends strong support as the smooth-talking, charming and scheming Man. The harmonies between the performers in the group numbers are also especially memorable, particularly when all three women sing together. 

Overall, even though there isn’t really a story here, Blues in the Night is an entertaining experience. If you love the blues and jazz music of the first half of the 20th Century, and if you are looking for an immersive, atmospheric musical experience, this is a show that’s sure to entertain.  It’s another example of theatrical excellence from the Black Rep.

De-Rance Blaylock, J. Samuel Davis
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Blues in the Night at Washington University’s Edison Theatre until September 29, 2024

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The Black Rep’s “Eubie!” is a Dynamic, Melodic Tribute to a Musical Legend

Posted in St Louis Theatre, tagged , , , , , , , , , on May 10, 2023| Leave a Comment »

Eubie!
Music by Eubie Blake
Conceived and Originally Directed on Broadway by Julianne Boyd
Directed by Ron Himes
Choreographed by Heather Beal and Vivian Watt, with Tap Choreography by Robert Crenshaw
The Black Rep
May 5, 2023

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

Eubie Blake was a composer and musician who made a big impact in the entertainment world, especially in terms of representation for Black performers, artists, and audiences. A few of his songs have endured as classic jazz/pop standards. Here in St. Louis, the Black Rep is paying tribute to Blake in staging the lively, memorable revue Eubie! Featuring a strong cast and impressive choreography, the show is a fitting tribute to Blake, as well as a memorable introduction for those who may not be as familiar with his work. 

For me, this show is an educational experience. I had heard of Eubie Blake, and particularly his song “I’m Just Wild About Harry” and his 1921 musical Shuffle Along, that was the source for a “making of” Broadway Production a few years ago. The majority of his work was new to me, however, and this revue, with its excellent singing, dancing, and presentation, is an ideal further introduction. There isn’t a story here, really. Essentially, the show sets songs by Blake and his collaborators in a number of routines, most of which have a glitzy 1920s style and mood, performed on a simple, versatile set by Tim Jones that features an Art Nouveau style flourish, with excellent stylized lighting by Jasmine Williams, vibrant costumes by Marc W. Vital III, and backed by a first-rate band led by musical director and pianist Joe Dreyer. 

The choreography, by Heather Beal and Vivian Watt, with tap choreography by Robert Crenshaw, is spectacular, and Crenshaw is a standout performer in the cast, wowing the audience with a series of athletic tap routines and strong stage presence on songs like “I’m Just Wild About Harry” (along with Evann De-Bose, Samantha Madison, and Tamara PiLar) and “Hot Feet”. The cast also features  DeAnté Bryant, Serdalyer Darden, Venezia Manuel, Carvas Pickens, and J’Kobe Wallace, with Taijah Silas as an understudy.  All the cast members get their moments to shine, either as individuals or in group performances. Other notable moments include De-Bose’s heartfelt “Memories of You” and Boyce’s “Craving for That Kind of Love”. The ensemble singing and dancing is uniformly strong, with strong harmonies and a great deal of energy. 

Overall, Eubie! is an entertaining, highly engaging production that captures the early 20th Century atmosphere and musical style especially well. Even though it doesn’t have a plot, it tells a story–of a composer and of the times in which he lived–through music and dance. It’s a memorable conclusion to the Black Rep’s 2022-2023 season. 

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Eubie! at Washington University’s Edison Theatre until May 21, 2023

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The Rep’s “Side by Side” Is a Hit-or-Miss Tribute to a Musical Theatre Legend

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

Side by Side by Sondheim
Directed by Reggie D. White
Choreographed by Heather Beal
Repertory Theatre of St. Louis
February 3, 2023

Phoenix Best, Paul HeeSang Miller, Saidu Singlah, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

Since Stephen Sondheim died in 2021, many performers and theatre companies have offered their various tributes, in the form of special performances, concerts, and productions of his shows. Now, the Rep is taking the opportunity to salute this legend of musical theatre with a somewhat understated production of the revue Side by Side by Sondheim, focusing mostly on his works up until the mid-1970s. Although this production has its moments, the performances are hit-or-miss, and it could use more energy and presence.

As narrator Alan Knoll points out early in the production, there isn’t much here in terms of a plot. Instead, the show is presented as an overview of Sondheim’s work up until about 1976, when this revue first debuted in London’s West End. in fact somewhat amusing to hear Knoll refer to 1976’s Pacific Overtures as one of Sondheim’s “later works”. Still, even with the somewhat dated elements and obvious exclusion of Sondheim’s work from the late 1970s and forward, the show as written is intriguing, and I imagine it could be a great success with more consistent performances. The cast includes late-addition Knoll, as well as performers Phoenix Best, Paul HeeSang Miller, Saidu Sinlah, and Amy Spanger, accompanied by Kris Pineda and Stephen A. Eros on Piano. 

The show covers Sondheim’s earlier works as a lyricist working with other composers on shows such as West Side Story and Gypsy, as well as his work as both composer and lyricist on shows like A Funny Thing Happened on the Way to the Forum, Company, and Follies. Also featured are some more obscure songs from lesser-known works, as well as television and film. 

The staging can be inventive on occasion, featuring Heather Beal’s energetic choreography, Tre’Von Griffith’s  music direction, and a simple set featuring a screen and eye-catching projections by Camilla Tassi, and flanked by the two pianists seated at grand pianos on either side. Xavier Pierce’s atmospheric lighting also adds flair to the staging, and Sharath Patel’s sound design is proficient, although there are occasional issues with the singers’ volume. 

As for those performers,  the biggest standouts are Knoll, in a personable and occasionally hilarious turn as the Narrator, and the appropriately named Best, who delivers several memorable solos on songs such as “I’m Still Here”, “I Never Do Anything Twice”, and “Send in the Clowns”. Miller also has his moments and a strong tenor voice, but Sinlah and especially Spanger struggle to maintain energy and consistency. After a somewhat lackluster opening, there are a few memorable group numbers, including a unique staging of “You Gotta Get a Gimmick” from Gypsy and an entertaining closing medley. It’s a fairly low-key production, and could use a little more energy in places.

Side by Side by Sondheim isn’t the spectacular tribute it could be, and I also think modern audiences might notice the lack of material from the composer’s more well-known later works like Sweeney Todd, Sunday in the Park with George, and Into the Woods. Still, even though it focuses on his earlier works, this could be a much more vibrant show than the Rep has managed to produce. It’s not entirely a miss–there are certainly some memorable moments, especially from Best and Knoll, and there are some interesting bits of trivia to learn about the legendary composer and lyricist. Anyone who is a particular fan of Sondheim’s, though, might still be frustrated with the lack of energy and true sparkle.

Paul HeeSang Miller, Saidu Singlah, Phoenix Best, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Side by Side by Sondheim at COCA’s Catherine B. Berges Theatre until February 19, 2023

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