Posts Tagged ‘john logan’

Stellar Cast Flies High in SDT’s Poignant, Visually Impressive “Superhero”

Posted in St Louis Theatre, tagged , , , , , , , , on December 11, 2025| Leave a Comment »

Superhero
Music and Lyrics by Tom Kitt, Book by John Logan
Directed by Justin Been
Choreographed by Sara Rae Womack
Stray Dog Theatre
December 4, 2025

Jabari Boykin
Photo: Stray Dog Theatre

Superhero is a musical by celebrated composer Tom Kitt and playwright John Logan that played a short Off-Broadway run in 2019. Now, Stray Dog Theatre is taking this lesser-known show and giving it an entertaining staging at its Tower Grove Abbey venue that seems just the right size for this small-but-memorable show about relationships, love, loss, and superpowers. Although the show itself isn’t perfect, under the direction of Justin Been and featuring a terrific cast and impressive effects, it’s flying high and packing a strong emotional punch.

The story follows teenage aspiring comic artist Simon (Jabari Boykin) and his mother, college English professor Charlotte (Sarah Gene Dowling), who are both still dealing in their own ways with grief two years after the death of husband-and-father Mitch in a tragic accident. Living in a city apartment that they moved to after the accident, Simon is still struggling to find his place at his school and in the neighborhood, and spends much of his time drawing and writing comic book stories–a love of which he shared with his late father. Meanwhile, Charlotte is dealing with career struggles as well as a new flirtation with mysterious neighbor Jim (Aaron Fischer), who Simon suspects of being more than a simple bus driver. Simon is clearly wanting a father figure, as well, and encourages the relationship between Charlotte and Jim, even though both adults have their reservations despite their mutual attraction.  He also has a crush on classmate Vee (Lindsey Grojean), agreeing to work with her on a project for school. As the story goes on, secrets are revealed, relationships are challenged, and grief is explored as the tale builds to a dramatic, ultimately poignant conclusion.

The story itself is intriguing, and the cast is first-rate, but the structure has some issues, especially in that the tension takes a little too long to come to a peak, to the point where it seems like there’s almost too much drama all at once, with not much time to come down to earth and reflect on the lessons learned. 

Still, the characters are engaging, especially as led here by the impressively talented young Boykin and SDT veteran Dowling, who are both fantastic and believable as a mother-son pair. Both have strong voices as well, and carry much of the dramatic weight with strong, believable portrayals. Fischer is also strong as the conflicted, mysterious Jim, who has memorable moments with both Charlotte and Simon. Grojean as Vee is also likable and memorable, and there’s a strong turn from Todd Garten as sympathetic landlord Vic, with good support from Justin Bouckaert, Kevin Hester, and Maggie Nold in smaller roles. The score has echoes of Kitt’s well-known other work, Next to Normal, as well as a bit of an homage to John Williams’s iconic Superman film score, and a few standout songs well-sung by the excellent cast.

The visual world of this production is achieved with expert creativity and flair by means of Rob Lippert’s multi-level life-meets-comic-book set and Justin Been’s truly stunning projections that are enhanced by Tyler Duenow’s lighting to achieve a more comic book look at key moments. The special effects are out of this world, as well, and Colleen Michelson’s costumes suit the characters well and fit perfectly into the well-realized world of the show. There’s also an excellent band led by music director/keyboardist Mallory Golden.

Superhero is, for the most part, a thoroughly absorbing musical and emotional adventure. Its especially strong cast is a particular highlight. For comic book fans, or for anyone interested in checking out a newer show that you may not have heard of, this is an excellent opportunity. 

Sarah Gene Dowling, Aaron Fischer
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Superhero at Tower Grove Abbey until December 20, 2025

Read Full Post »

Fascinating “Red” is a Dynamic Work of Art at New Jewish Theatre

Posted in St Louis Theatre, tagged , , , , , , on July 31, 2024| Leave a Comment »

Red
by John Logan
Directed by Alan Knoll
New Jewish Theatre
July 25, 2024

Dustin Lane Petrillo, Christopher Harris
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre’s latest production is a fascinating lesson in art, history, and life. John Logan’s Red looks at abstract artist Mark Rothko in a way that illuminates not only his work, but his reasons behind it, his life philosophies, and the changing trends in art in the middle of the 20th Century. It’s a dynamic, literate, thoughtful piece that serves as an excellent showcase for two talented actors and gives the audience a lot to think about and learn.

The story takes place in Rothko’s New York studio in the years 1958 and 1959, as the artist (Christopher Harris) works on a now well-known series of paintings known as the Seagram murals, which were originally commissioned to hang on the walls in the Four Seasons Restaurant. It’s a fictionalized account, featuring a young assistant named Ken (Dustin Lane Petrillo) who starts his job at the beginning of the play and serves as a sounding board and occasional foil for Rothko as he undertakes this ambitious job that doesn’t seem to make a lot of sense, as a swanky Manhattan eatery doesn’t seem like an ideal place for the silence and contemplation that Rothko envisions as appropriate for his work. Through the course of the 90 minute play, we get to see Rothko at work, as well as seeing and hearing his thoughts about art and life, as well as his impassioned commitment to his work and ideals. Through the voice of the younger aspiring artist Ken, Rothko is also challenged about his philosophy toward art and his response to newer trends in the art world such as Pop Art represented by Andy Warhol, Roy Lichtenstein, and others. Ideas such as the commercialization of art, the reflection of the artists’ life and suffering on their work, and more are brought up in while the audience gets to see–to the degree that one play is able–the sheer amount of energy and effort that goes into painting such an ambitious series of works.

It’s somewhat difficult to describe this play without making it seem overly cerebral and talky, but it does not come across that way on stage. What we see onstage is the personality of an artist and his relationship with his art, as well as a tangible sense of dynamic energy that goes into every moment. The pacing by director Alan Knoll and the intensely dedicated performances of the two actors make this show a must-see in itself, with Harris bringing a confrontational, passionate interpretation of Rothko and Petrillo also convincing as the idealistic young assistant. These two work especially well together, with their contrasting characters and complementary energy. Watching them dive into the job, sparring with words and priming canvases with gusto, is alternately fascinating, challenging, and thrilling. There’s also an excellent use of music that works as a background and mood-setter for their work. 

The set by Margery and Peter Spack is vividly detailed, recreating the atmosphere of the artist’s studio in a gritty, meticulous way. There’s also top-notch lighting by Jayson M. Lawshee that plays into the story well, and excellent sound design by Justin Smith. Michele Friedman Siler’s costumes are also memorable, suiting the characters well and reflecting the styles of the late 1950s with credible authenticity. 

Red is a remarkable piece of theatre. It’s a work of art about works of art, and the artist behind them, and sheds light on the work and thought that goes into abstract art, even if it may look “simple” on the surface. Rothko is a complex, important figure in the art world, and this play works as a look at the artist himself as well as the changing ideals in the art world and the contrast between idealism and commercialism. It’s a fascinating show, and this production at NJT is a first-rate, dynamic experience. 

Christopher Harris, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Red at the J’s Wool Studio Theatre until August 11, 2024

Read Full Post »

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

Read Full Post »

NJT’s “Never the Sinner” is Disturbing, Riveting

Posted in St Louis Theatre, tagged , , , , , on March 19, 2017| Leave a Comment »

Never the Sinner
by John Logan
Directed by Rick Dildine
New Jewish Theatre
March 16, 2017

Pete Winfrey, Jack Zanger
Photo by Eric Woolsey
New Jewish Theatre

Never the Sinner is a highly disturbing play. It’s also extremely fascinating. On stage now in a riveting production from New Jewish Theatre, John Logan’s play about the infamous crime duo of Leopold and Loeb is one of those shows that isn’t easy to forget. It will certainly get audiences talking, and thinking.

A well-known “thrill kill” murder case of the 1920s, the murder of 14-year-old Bobby Franks at the hands of young, rich, and intelligent college students Nathan Leopold (Jack Zanger) and Richard Loeb (Pete Winfrey) shocked Chicago and the entire nation.  The play follows their story particularly focusing on their relationship. The director’s note calls it a “love story”, and I guess you can think of it that way, but this is one twisted sort of love story. The relationship as portrayed here appears more as a fascination, a mutual enthrallment, a mixture of admiration, self-satisfaction, and encouragement of the most dangerous impulses in service of that enthrallment. These two bask in the glow of their own perceived prowess as Nietzsche-inspired “supermen” who are aren’t bound by the rules of society. The play cuts back and forth between the trial itself and various moments in the development of Leopold and Loeb’s relationship, including the planning and carrying out of their grisly crime. Also featured in the story is the duo’s defense attorney, the world-renowned Clarence Darrow (John Flack), who looms as a non-speaking presence through most of the first act before becoming a major figure in Act Two. There’s also the determined Robert Crowe (Eric Dean White), the State’s Attorney who is prosecuting the case, who argues for the death penalty for the pair while Darrow argues against it. Also featured are Will Bonfiglio, Maggie Conroy, and John Reidy in a variety of roles, most prominently as a trio of reporters who recite headlines about the case and other events of the day, as well as interviewing the major players in the trial. The structure is mostly non-linear, but there’s a definite structure and purpose that takes shape as the play progresses.

This is a strange play to watch, because it’s about a horrific crime and two unapologetic perpetrators who alternate between glorying in their own self-importance, obsessing about their relationship, and occasionally second-guessing their own actions and even threatening to turn against one another. It’s an odd situation to be in as a member of the audience, being thoroughly disgusted with the events that take place, but oddly fascinated with these characters and their unusual relationship. It’s disturbing but also interesting, with dynamic staging and some truly impressive performances by Winfrey, Zanger, Flack, and White. Winfrey, as the outgoing, gregarious Loeb, and Zanger, as the more intense, less social Leopold, command the stage whenever they are on it, and their chemistry is strong. The spell these two hold one another under is clear and obvious in all of their scenes together, and they are compelling to watch. Flack as Darrow walks with hunch and shuffles with determination, bringing a strong presence to the part of the firebrand lawyer, his eloquent and challenging closing speech being a highlight of the play, and his sparring with the excellent White as the single-minded Crowe is  excellent, as well. Bonfiglio, Conroy, and Reidy also do well in a succession of roles, with Conroy’s turn as one of Loeb’s girlfriends and Reidy’s role as the judge in the trial among their most memorable appearances. It’s a strong cast all around, being driven by director Rick Dildine’s fast-paced direction and conveying the sharp, memorable language of Logan’s script with energy and clarity.

The action takes place on a stylized set by Peter and Margery Spack that has the audience seated on either side of the performance space and surrounded by pictures of birds on the walls. The stage is divided into three basic areas with the middle showcasing much of the action, with the courtroom on one side and an office/study area on the other side, with moveable set pieces and furniture that are arranged by the actors as needed. The costumes by Michele Friedman Siler and meticulously detailed and period specific, reflecting Leopold and Loeb’s privileged backgrounds, Darrow’s careworn attire, and more. There’s also excellent work from lighting designer Maureen Berry, props master Margery Spack, and sound designer Michael Perkins. The world of the play, Chicago in the 1920’s is well-realized, setting the proper background for the action.

There’s so much going on in this play, in the interplay between Leopold and Loeb, the wrangling of their lawyers, the representations of the times, and more. Playwright John Logan has made a highly personal story out of an infamous murder case, and a fascinating and occasionally frightening character study as well as a study of the era itself. It’s a challenging, intensely dramatic production and a showcase for some incredible performances. It can be intensely disturbing, but also intensely thought-provoking. It’s a strange play to categorize–a crime/thriller/courtroom/psychological/love story, and it’s sure to leave its audience thinking.

John Flack, Pete Winfrey, Jack Zanger, Eric Dean White
Photo by Eric Woolsey
New Jewish Theatre

New Jewish Theatre is presenting Never the Sinner at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until April 2, 2017.

Read Full Post »