Posts Tagged ‘james lapine’

Energetic “Sunshine” from FNT Features Clever Staging, Memorable Performances

Posted in St Louis Theatre, tagged , , , , , , , on May 2, 2025| Leave a Comment »

Little Miss Sunshine
Music and Lyrics by William Finn, Book by James Lapine
Directed by Colin Healy
Fly North Theatricals
April 25, 2025

Ken Haller, Connor Becker, Eileen Engel, Zoe Klevorn, Dareis Lambert, Brian McKinley
Photo by Colin Healy
Fly North Theatricals

The trend for making popular films into stage musicals continues, on and off Broadway and around the world. While some of these shows turn out to be great, others make me wonder why the movie even needed to be made into a musical. Little Miss Sunshine, currently being staged by Fly North Theatricals at the Greenfinch Theater and Dive under the direction of Colin Healy, is a bit hit-or-miss for me as a show, despite its excellent team of celebrated creators William Finn and James Lapine. It has its moments, but I’m not sure it adds anything for viewers who have already seen the film. Still, FNT has taken the opportunity to assemble an enthusiastic cast and employ some inventive staging to fill their small space at the Greenfinch with a lively, entertaining show that makes the most of its resources. 

Essentially, if you’ve seen the film of Little Miss Sunshine, you know the plot of the musical. The focus is on the quirky, dysfunctional Hoover family from Albuquerque, NM, and particularly the determined young Olive (Zoe Klevorn). Olive, encouraged by her eccentric, hedonistic Grandpa (Ken Haller), has entered a child beauty pageant in California and has made it to the finals, so for various reasons, the whole family decides to drive her there in Grandpa’s old, unreliable VW Bus. Along for the ride with Olive and Grandpa are Olive’s parents Sheryl (Eileen Engel) and Richard (Brian McKinley), as well as their moody older son Dwayne (Connor Becker) and Sheryl’s depressed brother Frank (Dareis Lambert), who has just gone through a painful breakup. As the family makes their eventful trip, they deal with personality conflicts, relationship issues, and overarching hopes, fears, and regrets, culminating in the big contest finale that brings its own share of surprises. The cast is also supported by Parker Collier, who plays a variety of supporting adult roles, along with young Zy Beckley, Brynja Murphy, and Callum Thompson who play a chorus of Olive’s “Mean Girl” classmates as well as the other pageant contestants. 

While there isn’t really anything new here, and the songs aren’t as memorable as they could be–as well as many of them seeming more like snippets of musical dialogue rather than full songs–the staging here is fun and adds much in the way of drama. In fact, the collection of yellow rolling chairs that make up the “bus” can almost be considered characters in their own right, and they add  much in the way of energy and humor to the emotionally fraught road trip that is the centerpiece of this story. The detailed projection design by Healy along with the vivid set painting by Katie Orr also contribute vibrancy to the atmosphere, along with Bradley Rohlf’s lighting design, Kel Rolf’s excellent costumes and props, and Angela Healy’s energetic choreography of the “Shake My Badankadonk” beauty pageant finale sequence. The whole production is adapted to fit the Greenfinch space especially well.

As for the cast, the young performers especially shine, led by Klevorn in a dynamic, highly likable performance as the determinedly upbeat Olive. Becker is also strong in an emotional turn as Dwayne, who seems embarrassed by his family but is also clearly devoted to his little sister. Haller makes the most of his role as the quintessential “dirty old man”, Grandpa, as well as a few other memorable roles. Engel is in excellent voice and relatable as Sheryl, and McKinley is fine as Richard as well. Lambert, as Uncle Frank, also turns in a fine performance, and the rest of the ensemble is also memorable, especially Collier, who has fantastic comic timing and makes an especially strong impression in a variety of quirky roles. 

Overall, Little Miss Sunshine is an entertaining show that makes the most of its unconventional performance space. While I’m not sure this musical adaptation really needs to exist, this production from FNT justifies its existence with an enthusiastic cast and especially clever staging. It’s a fun experience, for the most part, and a showcase for some excellent local performers. 

Eileen Engel, Brian McKinley
Photo by Colin Healy
Fly North Theatricals

Fly North Theatricals is presenting Little Miss Sunshine at Greenfinch Theater & Dive until May 4, 2025

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NJT’s “Woods” Is an Enchanting, Thought-Provoking, Fast-Paced Tale

Posted in St Louis Theatre, tagged , , , , , , , on December 5, 2023| Leave a Comment »

Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Robert Quinlan
Choreographed by Ellen Isom
New Jewish Theatre
November 30, 2023

Cast of Into the Woods
Photo by Jon Gitchoff
New Jewish Theatre

Into the Woods has become something of a modern classic of musical theatre. It’s become especially popular with regional and school theatre groups, and I can see why, since the subjects it deals with are relatable to most, considering the foundational fairy tales on which the story is based. Also, from what I’ve seen, it’s especially adaptable in terms of style and theme, and many directors over the years have staged their own unique concepts without actually changing the script. At New Jewish Theatre, director Robert Quinlan has staged a quickly paced, smaller-cast version in the round, with an excellent, versatile cast and an especially approachable tone.

The story is well-known, made up of a collection of fairy tales mashed together, with an original story to tie them together–of a Baker and his Wife hoping to break a curse so they can have a child. In carrying out the directions of the Witch who lives next door–who has her own reasons for wanting to break the spell–the Baker and his Wife encounter several familiar characters–including Cinderella, Rapunzel, and their respective Princes, along with Little Red Riding Hood, the beanstalk-climbing Jack, and the Big Bad Wolf, among others. The story gets into motion quickly, and never really stops moving, as the characters are determined to get their wishes in the first act, without much thought of how their actions affect others. The second act then deals with the consequences of those actions, with an overriding theme of “be careful what you wish for”, as well as an emphasis on community and how selfish goals can have unforeseen repercussions.

The look and tone of this production are both simple and elaborate at the same time, with a versatile, shifting set by C. Otis Sweezey, colorful costumes by Michele Friedman Siler, and atmospheric lighting by Jayson M. Lawshee helping to set the mood, which emphasizes earth tones and natural elements, with some movable trees and other set pieces, along with a simple but clever puppet of Jack’s cow, Milky-White, operated by Matt Billings, who also plays Cinderella’s Prince. There’s also a 3-piece musical ensemble led by music director Larry D. Pry, who also serves as the Narrator of the story. All of these elements along with the brisk pacing help to maintain the whimsical, fairy-tale-like tone as the story unfolds.

The cast is excellent, as well, led by the personable Molly Wennstrom and Kevin O’Brien as the Baker’s Wife and the Baker, and by the strong-voiced Sarah Gene Dowling as the Witch. There’s also a memorable performance from Kristen Joy Lintvedt as the determined Cinderella, as well as Aliyah Jacobs as an energetic Little Red, and Matthew Cox as both Jack and the royal Steward. Most of the cast members play multiple roles, and all are strong, including Billings as Cinderella’s Prince and Milky-White, Kevin Corpuz as Rapunzel’s Prince and Cinderella’s stepsister Lucinda, Sarah Wilkinson as Rapunzel and Florinda, and Phil Leveling in a fun turn as the Wolf, the Mysterious Man, and Cinderella’s Stepmother. It’s a strong ensemble, with a great deal of energy and chemistry, as well as excellent vocals.

Overall, this journey Into the Woods is well worth the trip. With strong direction and pacing, as well as a consistent sense of theme, this show tells its tale with style and heart. And Stephen Sondheim’s celebrated score is ideally represented, as well. It’s an excellent closing show for the New Jewish Theatre’s 2023 season.

Molly Wennstrom, Kevin O’Brien
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Into the Woods at the J’s Wool Studio Theatre until December 17

This review was originally published at kdhx.org

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SDT Takes Audiences “Into The Woods” With Precisely Paced, Imaginative Production

Posted in St Louis Theatre, tagged , , , , , , on April 1, 2023| Leave a Comment »

Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Justin Been
Stray Dog Theatre
March 30, 2023

Cast of Into the Woods
Photo by John Lamb
Stray Dog Theatre

Into the Woods is a popular show. Even among the works of legendary composer/lyricist Stephen Sondheim, this is probably his most well-known show among today’s theatregoers. It’s so oft-performed among school, community, and regional theatres that it’s become something of a mainstay, to the point where the current staging at Stray Dog Theatre is the first of two professional productions in St. Louis this year. This show, directed by SDT’s usual director of musicals, Justin Been, is precisely staged and highly imaginative, with an inventive concept and eye-catching production values, along with excellent performances and clever casting.

The story has become a well-known one, cobbling together a variety of familiar fairy tales along with a new connecting story involving a Baker (Tyler Luetkenhaus) and his Wife (Margaret Stall), who wish to have a child, and who are helped by their neighbor, the Witch (Jennelle Gilreath Owens), who has her own reasons for helping them. This story is woven into other stories involving well-known fairy tale characters Cinderella (Maggie Nold), Little Red Riding Hood (Grace Langford), Jack (Shannon Lampkin Campbell) of beanstalk fame; and Rapunzel (Dawn Schmid), who has been raised by the overprotective Witch. Most of the characters are involved in the Baker and Baker’s Wife’s quest in the first act, and all have their own wishes to pursue, but the second act explores the consequences that come from pursuing those wishes without thought of potential repercussions. There’s also a strong theme of parent-child relationships, and what younger generations can learn from their elders, for good or ill. It’s a well-structured, exquisitely timed story that features complex plotting and Sondheim’s memorable score and lyrics.

The story is briskly timed, driven by the score, played here by the excellent onstage band led by music director Leah Schultz. Once the Narrator (Jonathan Hey) intones the familiar “once upon a time”, the music begins and marks the time as the events proceed at a deliberate and relentless pace.  The world of the show is vividly imagined, with the conceit this time of its taking place in a kind of whimsical library, as the set by Been and Dominic Emery features shelves decorated by numerous books of various sizes and colors. The characters are outfitted in a striking manner, as Eileen Engel’s colorful costumes and Sarah Gene Dowling’s meticulously detailed, cartoonish wigs suit the characters ideally, aiding in their characterizations. There’s also memorable lighting by Tyler Duenow that further emphasizes the otherworldly, fairylike atmosphere.

As for the casting, it’s stellar, with excellent performances all around and some clever doubling for some performers, such as having Cinderella’s stepsisters, Florinda and Lucinda, played by the same performers playing Cinderella’s and Rapunzel’s Princes (Drew Mizell and Sarah Polizzi, respectively). The key players–Luetkenhaus as the insecure Baker, Stall as the determined Baker’s Wife, and Owens as the scheming Witch–are all terrific, with excellent chemistry between Luetkenhaus and Stall, and Owens having some memorable scenes with the also excellent Schmid as the sheltered Rapunzel. Other standouts include Campbell as the plucky Jack, along with Laura Lee Kyro as Jack’s Mother; Langford as the initially naïve Little Red Riding Hood; and Michael Wells as a ravenous Wolf, as well as the Prince’s Steward and Cinderella’s father. Hey makes a strong impression as both the Narrator and the Mysterious Man, who shows up from time to time to the confusion of those with whom he interacts. Mizell and Polizzi are particularly memorable as the stepsisters and, especially, the Princes, with Polizzi’s remarkable ability to sing in two distinctly different voices (and ranges) especially impressive. This is a show that requires excellent comic timing as well as strong dramatic ability from its cast, and this production certainly has all that, with especially poignant moments at various moments in the show such as the Baker’s “No More” and the finale “Children Will Listen” leaving a lasting impression.

Overall, this is a first-rate production of an oft-performed show. Into the Woods is so popular that it might be easy to think there’s not much new that can be done with it. This is a surprisingly versatile show, though–with so many excellent, imaginative productions coming out of this one familiar story and script. Stray Dog Theatre and director Justin Been have put together a clever, thoughtful, highly entertaining show that emphasizes the characters and themes with effective immediacy and timeless resonance. It’s a fantastic production.

Shannon Lampkin Campbell, Tyler Luetkenhaus, Maggie Nold
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Into the Woods at Tower Grove Abbey until April 22, 2023

 

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The Muny Takes A Wondrous Trip “Into the Woods”

Posted in St Louis Theatre, tagged , , , , , , on July 23, 2015| Leave a Comment »

Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Gary Griffin
The Muny
July 21, 2015

Heather Headley, Rob McClure, Erin Dilly Photo by Phillip Hamer The Muny

Heather Headley, Rob McClure, Erin Dilly
Photo by Phillip Hamer
The Muny

Into the Woods has been one of my favorite musicals since I was a teenage drama geek listening to the Original Broadway Cast album on cassette tape on my Walkman. It’s the show that, after Carousel (which the Muny hasn’t staged since 1988), had been the musical I’d most wanted to see at the Muny, since the outdoor setting and wider appeal (compared to other Sondheim shows) made it an ideal choice.  Finally, in its 2015 season, the Muny has brought this modern classic to Forest Park, and it has done so in glorious fashion. With its wonderful production values and a top-notch cast, this production is a celebration of the magic of theatre.

The story is well-known now, since this play is so popular with regional, community, and school theatre companies. It’s basically a blend of various well-known fairy tales along with some original elements, as a childless Baker (Rob McClure) and his Wife (Erin Dilly) are sent on a journey to break a family curse by a mysterious Witch (Heather Headley) with secret motives of her own. Also on their own quests are Cinderella (Elena Shaddow), who wishes to escape her unhappy  home life with her cruel Stepmother (Ellen Harvey) and self-centered Stepsisters (Jennifer Diamond as Florinda, April Strelinger as Lucinda) and her weak-willed Father (Michael McCormick). She wants to attend the King’s festival , but soon finds herself being pursued by a persistent Prince (Andrew Samonsky). Meanwhile, the young lad Jack (Jason Gotay) is sent to the woods by his Mother (Zoe Vonder Haar) to sell his beloved cow, Little Red Riding Hood (Sara Kapner) meets a Wolf (also Samonsky) on the way to Grandmother’s (Anna Blair) house, and the isolated Rapunzel (Samantha Massell) lives a lonely existence being stowed away in a tower by the overprotective Witch and pines for another handsome Prince (Ryan Silverman). All these stories weave together in a complicated but clever way, with many surprises in store as the characters learn the truth of the old adage “be careful what you wish for”.

This is a story of archetypes and motivations, using fairy tales to present a complex morality tale with several important messages, especially that actions have consequences. The issue of parents as role models for their children is another major theme, as the show’s iconic closing number “Children Will Listen” exemplifies. It’s a multi-layered story, with some deceptively dark connotations, but also with a lot of fast-paced action and precisely timed comedy.  It’s one of those shows where timing is absolutely essential, and for the most part, this production gets it right. I did notice a few small issues with dropped lyrics and dialogue, although I’m sure all of that will be ironed out as the show continues its run. It’s impeccably staged, with the paramount sense of urgency maintained and the characterization compelling.

This is something of an all-star cast here, as well. Tony winner Heather Headley as the Witch is probably the most recognizable name, and she makes a profound impression, expertly conveying the Witch’s single-minded determination as well as her often creepy preoccupation with Rapunzel. Her takes on “Stay With Me” and “Witch’s Lament” are heartwrenching, and “Last Midnight” is powerfully effective, with Headley’s excellent vocals and imposing stage presence. McClure is ideally cast as the show’s Everyman figure, the Baker, bringing all the required conflict and sympathy to the role as well as a strong tenor voice. He works especially well in his scenes with McCormick as the “Mysterious Man” and with Dilly, in a winning performance as the determined, witty, and sometimes preoccupied Baker’s Wife.  Other standouts include Shaddow, who takes Cinderella on a believable emotional journey and delivers a great rendition of “On the Steps of the Palace.” Samonsky and Silverman are suitably handsome and self-absorbed as the Princes, with their duets on “Agony’ and its reprise among the comic highlights.  There’s also Kapner, displaying excellent comic timing as the snarky, confrontational Little Red and Gotay, who is amiable as the brave but not-too-bright Jack. Muny stalwart Ken Page is in excellent form and voice as the Narrator, and there are also strong turns by Vonder Haar as Jack’s Mother and Anna Blair as the ethereal figure of Cinderella’s Mother. Maggie Lakis operates a particularly expressive life-sized puppet as the cow Milky White, as well, and The Muny’s Youth Ensemble is put to clever use in various moments from the show’s storybook intro to its more somber, cautionary conclusion.

Visually, this production is a wish come true, exemplified by Michael Schweikart’s spectacular set. It’s giant storybooks in the intro give way to a more mysterious, versatile unit set that suggests a wooded setting and makes excellent use of the Muny’s giant turntable in portraying various areas in the dark and looming woods. The real trees framing the set are an added atmospheric bonus.  The costumes, by Andrea Lauer, are colorful and appropriate to the characters, with a variety of styles from the traditional to the more modern, giving the show a timeless effect.  There aren’t a lot of flashy special effects in this production, with the various transformations and magical entrances and exits mostly performed through staging or fairly simple lighting, but it all works well, with Rob Denton’s lighting being particularly striking.

Sondheim at the Muny is a wonderful thing. I wasn’t sure it would ever happen, and it has now with one of his more accessible shows. The Muny has done Into the Woods right, and I’m glad. It’s a journey of wonder, mystery, drama, comedy and tragedy, all well-paced and staged by a stellar cast.  It was worth the wait, and it’s worth the journey into the “woods” of Forest Park to witness the magic.

Elena Shaddow, Sara Kapner, Jason Gotay, Rob McClure Photo by Phillip Hamer The Muny

Elena Shaddow, Sara Kapner, Jason Gotay, Rob McClure
Photo by Phillip Hamer
The Muny

Into the Woods is running at the Muny in Forest Park until July 27th, 2015.

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