Posts Tagged ‘howard lindsay’

Crowd-Pleasing “Sound of Music” Makes the Most of Its Setting at the Muny

Posted in Uncategorized, tagged , , , , , , , , , on August 4, 2021| Leave a Comment »

The Sound of Music
Music by Richard Rodgers, Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Directed by Matt Kunkel
Choreographed by Beth Crandall
The Muny
August 3, 2021

Kate Rockwell, Michael Hayden, Jenny Powers, and the Von Trapp Children
Photo: The Muny

The hills are alive, and so are the trees, the stage, the scenery, the lights, and the video in the Muny’s latest production of the classic Rodgers and Hammerstein musical, The Sound of Music. Although there is a strong cast here, for the most part, and the audience loved every minute, what shines here especially is the technical artistry, as well as the integration of the setting with the Muny’s natural environment in Forest Park, with the return of the live trees on stage. The classic songs and characters are here, as well, but what’s especially stunning is the sheer spectacle.

This is a show that the Muny has produced many times, although it’s only the second time I’ve seen it here, even though I’ve seen several other productions in various other venues. Here, it’s the familiar show with all the iconic characters and 1930’s Austrian setting, although a few little tweaks have been made. First, when aspiring nun Maria (Kate Rockwell) is first seen, she’s given a bit of a “Julie Andrews moment” in a nod to the famous film by way of this production’s eliminating the usual nuns’ prelude and Maria’s introduction to the title song. The first words we hear are “the hills are alive”, just like the film. Maria also gets a striking entrance standing on a stump that rises out of the stage, as Rockwell is flanked by those lovely trees as well as some stunning projections by video designer Caite Hevner, whose work is one of the true highlights of this production.  We then follow Maria, who is having trouble fitting into convent life, as the wise Mother Abbess (Bryonha Maria Parham) sends her to test her calling by serving as a governess to the widowed Captain George von Trapp (Michael Hayden) and his seven neglected children, (Elizabeth Teeter, Victor De Paula Rocha, Amelie Lock, Parker Dzuba, Jillian Depke, Abby Hogan, and Kate Scarlett Kappel). Maria’s initial idea is to help the children prepare for a new stepmother, as the Captain has been courting wealthy widow Elsa Schraeder (Jenny Powers), but as most of us know, things don’t quite turn out to plan, for Maria, for the Captain and the children, or for Austria itself, as the brutal, menacing Nazi regime is poised to take over the country.

The cast here is good, with some particular standouts, like Teeter in an especially thoughtful turn as eldest Von Trapp daughter Liesl, John Scherer as the enterprising concert promoter Max Detweiler, and, especially, Parham as the Mother Abbess, who not only displays a strong sense of wisdom and compassionate authority, but also a fantastic voice on songs like “My Favorite Things” and the iconic “Climb Ev’ry Mountain”. Rockwell is a spunky Maria, and Hayden takes a while to find his energy, but eventually gives a thoughtful, memorable performance as the Captain, especially shining in his moments with Rockwell and the children. Other standouts include Depke as the observant young Brigitta, and Kappel in a spirited performance as youngest daughter Gretel. The children as a group show a strong sense of family connection. Powers also gives a strong, if somewhat subdued, performance as Maria’s romantic rival Elsa. 

The staging is clever, with a colorful set by Paige Hathaway and excellent use of the Muny’s turntable in conjunction with the scenic and video design. There’s a particularly stunning moment in Act 2 during the wedding in which set, video projections, staging, and Shelby Loera’s superb lighting design come together to awe-inspiring, almost cinematic effect. There are also excellent period-specific costumes by Tristan Raines. In fact, the production is nearly flawless from a technical standpoint, aside from a few obvious and distracting wigs. Also worth noting is the melodious Muny Orchestra led by music director Ben Whitely.

Overall, The Sound of Music at the Muny is an entertaining, fully realized experience that makes the most of its venue. If you love this show, I imagine you’ll enjoy this production. It’s a well-staged production that truly makes its location one of the stars of the show.

Kate Rockwell, Bryonha Marie Parham
Photo: The Muny

The Muny is presenting The Sound of Music in Forest Park until August 9, 2021

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New Line’s “Anything Goes” Is a Thoughtful, Funny Take on a Classic

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on March 8, 2018| Leave a Comment »

Anything Goes
Music and Lyrics by Cole Porter
Book by Guy Bolton, P.G. Wodehouse, Howard Lindsay, and Russel Crouse
Directed by Scott Miller and Mike Dowdy-Windsor
Choreographed by Michelle Sauer and Sara Rae Womack
New Line Theatre
March 2, 2018

Sarah Gene Dowling, Evan Fornachon, Aaron Allen
Photo by Jill Ritter Lindberg
New Line Theatre

Anything Goes is Anything Goes no matter who produces it, right? Well, maybe not. New Line Theatre, known for its productions of edgier and lesser known shows, has taken this classic, “fun” show and given it a presentation that’s in several ways different than what’s come to be expected as usual. There’s an emphasis on satire and less of an emphasis on dance than other productions I’ve seen, but still, it’s Anything Goes, and the overall effect is energetic, smart, and very very funny.

This is a version of the show I haven’t seen on stage before. Most more recent regional productions, and also the 2011 Broadway revival, have been based on the 1987 revival script of the show. For this production, directors Scott Miller and Mike Dowdy-Windsor are using the 1962 script of the show, which has the same basic characters and plot as the later revival, but with some differences in specifics and in the songs featured, and also in the prominence of some characters. While evangelist-turned-nightclub singer Reno Sweeney (Sarah Porter) is still a major focus, as is Billy Crocker (Evan Fornachon), the overworked stockbroker in love with young debutante Hope Harcourt (Eileen Engel), and “Public Enemy #13” Moonface Martin (Aaron Allen), but that focus is shifted a little, and through a combination of the different script and New Line’s intuitive directing, we get to see a somewhat different look at these characters, as well as others such as Hope’s seemingly stuffy English fiance, Sir Evelyn Oakleigh (Zachary Allen Farmer), and Moonface’s partner-in-crime, the brash, flirtatious Bonnie (Sarah Gene Dowling), who was renamed “Erma” in the 1987 version. The focus on dance isn’t quite a prominent here either, but what’s there is still spectacular, along with the ever-present broad, sketch-style comedy, which is perhaps even apparent so than in the other version. Here at New Line, what we get to see is a sharp, witty, tuneful, and well-cast production that’s a delight from start to finish.

New Line artistic director and Anything Goes co-director Scott Miller mentions in his director’s notes in the program the timeliness of this show. Many of the themes, he notes, are just as prominent today as they were in the 1930s, when this show was orginally written, and the time period in which it sill takes place. The show at New Line isn’t as big as other productions I’ve seen, but, especially in terms of costumes (designed by Colene Fornachon and Sarah Porter), it’s as glam and glitzy as anyone would expect. With the sumptuous evening gowns, dapper suits, and varous nautical and gangster attire, the spirit of the 1930s has been brought to the stage well. Rob Lippert’s excellent unit set, representing the luxury ocean liner on which the action takes place, is also on point, as is his equally effective lighting. There’s also great work from the excellent New Line band, doing justice to the marvelous Cole Porter score and outfitted in sailor hats in accordance with the theme of the show, ably led by Music Director and “captain” Nicolas Valdez.

The cast here is a treat, led by the always excellent Porter as the brassy, bold, and also surprisingly vulnerable Reno Sweeney, with standout moments such as the solo “I Get a Kick Out of You”, production numbers “Anything Goes” and “Bow, Gabriel, Blow”, and a fun bit of harmonizing with co-stars Fornachon and Allen in “Friendship”. Her scenes with the wonderful Farmer as the initially jaded, bewildered, and ultimately endearing Sir Evelyn are especially engaging. There’s also top-notch work from Dowling in a scene-stealing performance as Bonnie, and from Allen in an impressive comic term as Moonface, the small-time crook who wishes he were big-time. Fornachon and Engel make a good pair as Billy and Hope, as well, with great duets on “It’s De-Lovely” and “All Through the Night”. Reno is well-supported by her “Angels” Purity (Michelle Sauer), Chastity (Larissa White), Charity (Alyssa Wolf), and Virtue (Sara Rae Womack), and there are also hilarious supporting performances from Kimmie Kidd-Booker as Hope’s mother, Evangeline Harcourt, and Jeffrey M. Wright as Billy’s on-again, off-again boss, Elisha J. Whitney. There’s also a strong ensemble in support. The usually excellent New Line singing is there, of course, joined by impressive, energetic dancing as well.

This is a slightly different Anything Goes than you may be used to, but that’s a good thing. It’s a fresh look at an older show, with a bright, memorable score of hits by a legendary composer, as well as delightful moments of broad comedy and some pointed satirical touches. And the cast is great, as well. It might not be the type of show one might expect from New Line, but the level of excellence is certainly on par with New Line’s best. It’s refreshing, bold, and lots of fun.

Sarah Porter, Zachary Allen Farmer, Eileen Engel
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Anything Goes at the Marcelle Theatre until March 24, 2018.

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The Fox Theatre is Alive With “The Sound of Music”

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , on April 29, 2016| Leave a Comment »

The Sound of Music
Music by Richard Rodgers, Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Directed by Jack O’Brien
The Fox Theatre
April 26, 2016

 

Kerstin Anderson Photo by Matthew Murphy The Sound of Music National Tour

Kerstin Anderson
Photo by Matthew Murphy
The Sound of Music National Tour

The Sound of Music is unquestionably a musical theatre classic.  Since its debut on Broadway in 1959, it has been performed in various productions around the world as well as two live television productions and, of course, the Oscar-Winning movie. I personally have seen so many productions of it that I’ve almost got the show memorized. Audiences generally know what to expect when they see this show. With the new touring production now on stage at the Fox, director Jack O’Brien has brought a good mixture of timelessness and immediacy to this time-honored show, as well as finding a promising young star to lead the cast.

Everyone knows the story, it seems. As Maria (Kerstin Anderson) finds it difficult to fit in at Nonnburg Abbey, the Mother Abbess (Melody Betts) decides the young would-be nun needs to see more of the world. So for that purpose, Maria is sent to be a governess to the seven children of lonely widower Captain Georg Von Trapp (Ben Davis), who since the death of his wife has become more of an authoritarian commander than a father to his children. Maria soon wins her way into the hearts of the children and, eventually, their father as well, despite the romantic efforts of the wealthy widow Elsa Schraeder (Teri Hansen), who also wants to marry the Captain. And then there’s the Captain’s enterprising friend Max (Merwin Foard), who hopes to recruit the children–whom Maria has taught to sing–to perform in a big music festival. And then comes the Nazi occupation of Austria, and the drama that follows.

Kerstin Anderson follows in the footsteps of many a Maria, including stage legend Mary Martin and the movie’s iconic Julie Andrews. Anderson, thankfully, doesn’t try to imitate her famous predecessors, although she has a quirkiness about her that is more comparable to Martin than to Andrews. She also has a youthful, energetic spirit and a great voice. As Maria navigates her road from the convent to the Von Trapps’ villa, Anderson visibly matures and acquires a sense of grace and poise. It’s an impressive performance, although she also occasionally tends to deliver her lines in an over-rehearsed, somewhat artificial manner. For the most part, however, she makes an excellent Maria, and she has great chemistry with Ben Davis’s charming, authoritative but increasingly boyish Von Trapp. Their love duet “Something Good” is very sweetly sung and their showcase dance charged with romantic tension. Davis also gets one of the show’s best moments when he leads his family in singing “Edelweiss” at the concert. There’s also a strong comedic performance by Foard as Max, and Betts as the Mother Abbess radiates kindness and strength, stopping the show with a soaring rendition of “Climb Ev’ry Mountain”. Other standouts in the cast are Paige Silvester as a particularly rebellious eldest Von Trapp daughter, Liesl, and Svea Elizabeth Johnson as the wise, observant daughter Brigitta. The children have a good rapport with Anderson’s Maria, and all the production numbers are well-done, including the energetic “Do Re Mi” and “The Lonely Goatherd”.

Visually, the production is impressive as well. Douglas W. Schmidt’s excellent set is notable for its period authenticity and colorful painted backdrops of beautiful mountain vistas, well-lit by lighting designer Natasha Katz. The costumes by Jane Greenwood are well-crafted and suited to the characters, from the nuns’ habits to Maria’s succession of dresses that range from the frumpy to the elegant. The children’s play costumes, supposedly made by Maria from the curtains in her bedroom, are appropriately whimsical. Maria’s hairstyles also go through a believable progression throughout the production, so kudos to hair designer Tom Watson for that effect.

Overall, the tone of this production strikes a good medium between the classic and the new. There’s a sense of energy and urgency brought to the proceedings, as well as an authentic-seeming 1930’s sensibility and an “old Broadway” style without seeming too dated. It’s not trying to to overly innovative or different. It’s just trying to tell the story and tell it well, and for the most part, this iteration of The Sound of Music achieves that goal. It’s a delightful show.

Ben Davis and cast Photo by Matthew Murphy The Sound of Music National Tour

Ben Davis and cast
Photo by Matthew Murphy
The Sound of Music National Tour

The national tour of The Sound of Music is running at the Fox Theatre until May 8, 2016.

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An Entertaining, Energetic “Anything Goes” at STAGES

Posted in Snoop's Soapbox, tagged , , , , , , , , , , , , on July 25, 2015| Leave a Comment »

Anything Goes
Music and Lyrics by Cole Porter
Original Book by P.G. Wodehouse & Guy Bolton, and Howard Lindsay & Russel Crouse
New Book by Timothy Crouse and John Weidman
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
July 22, 2015

Cast of Anything Goes Photo by Peter Wochniak STAGES St. Louis

Cast of Anything Goes
Photo by Peter Wochniak
STAGES St. Louis

In a way, Anything Goes could well be called one of the orginal “jukebox musicals”. It’s been performed in various versions for decades, with many lyric, song, and book changes, and the plot, while entertaining, is fairly slight. The show exists, essentially, to be a showcase for the songs of celebrated 20th Century composer and lyricist Cole Porter. It’s a lively show with lots of silly comedy and spectacular dancing, and it’s currently being performed in top-notch fashion at STAGES St. Louis.

The story is somewhat silly, but entertaining nonetheless. It follows nightclub singer Reno Sweeney (Julie Cardia) and friends on an ocean liner traveling between New York and London in the 1930s. Reno’s got something of a crush on her old friend, the handsome stockbroker Billy Crocker (Brent Michael DiRoma), but Billy’s newly smitten with young debutante Hope Harcourt (Heidi Giberson), who is sailing on the cruise with her mother (Kari Ely) with the aim of marrying rich English nobleman Lord Evelyn Oakleigh (Dan Fenaughty). Meanwhile, gangster Moonface Martin (Bob Amaral), “Public Enemy #13”, is on the run from the law, and boards the ship in preacher’s disguise, bringing his friend Erma (Laura E. Taylor) along.  What ensues is a comedy of love triangles and quadrangles, as well as mistaken identity, gambling, singing and a whole lot of dancing.

The plot isn’t really one that bears a lot of scrutiny. It’s really just a platform for the songs and some some hilariously goofy comedy. Despite the various script updates over the years, the show does still come across as slightly dated, and there are some unfortunate stereotypes that are played for laughs. Still, for the most part it’s a fun show, and the real focus is on those lovely Cole Porter songs and Stephen Bourneuf’s spectacular choreography and excellent ensemble dancing.

This is a very ensemble-dependent show, considering all the stylish dance-numbers and intricately performed choreography. The ensemble sparkles on on numbers like the tap-dance heavy “Anything Goes” and the truly showstopping “Blow, Gabriel, Blow” led by the big-voiced Cardia as Reno.  Cardia also displays a strong sense of comedy, working well opposite both the charming DiRoma as Billy, the hilariously shady Amaral as Mooonface, and the delightfully goofy and thoroughly winning Fenaughty as Lord Evelyn.  All of these performers show great comedy skills and excellent voices, especially DiRoma, who also shares delightful chemistry with Giberson, who is also in excellent voice as Hope.  There are also fun comic performances from the always excellent Reichert as Billy’s nearsighted boss Elisha Whitney, and Kari Ely as Hope’s mother, socialite Evangeline Harcourt.  Flack as the Captain, Brennan Caldwell as the Ship’s Purser, and Taylor as Erma also give memorable performances. It’s a very strong cast, from the leads to the ensemble, working together to bring life to the classic Porter score and a great deal of laughs to the audience.

The set, designed by James Wolk, is striking, colorful and versatile, creating a vibrant 1930’s atmosphere. There are also some marvelously detailed and stylish costumes by Brad Musgrove. Sean M. Savoie’s lighting is effective and atmospheric, as well.

Ultimately, the point of Anything Goes is to entertain, and the production at STAGES does that well.  It’s a big, bold, stylish and energetic production that splendidly showcases the marvelous score and choreography. It’s also hilariously funny, with a decidedly silly sense of humor.  Despite a few drawbacks in the script, this is about as ideal a production of this show as I can imagine.

Brent Michael DiRoma, Heidi Giberson , and Ensemble Photo by Peter Wochniak STAGES St. Lousi

Brent Michael DiRoma, Heidi Giberson , and Ensemble
Photo by Peter Wochniak
STAGES St. Lousi

STAGES St. Louis’s production of Anything Goes is running at the Robert G. Reim Theatre in Kirkwood until August 16th, 2015.

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