Posts Tagged ‘johnny cash’

The Rep’s “Ring of Fire” is a Celebration of Music and a Complex Life

Posted in St Louis Theatre, tagged , , , , , , , , , on March 28, 2026| Leave a Comment »

Ring of Fire: The Music of Johnny Cash
Written by Richard Maltby, Jr., Conceived by William Meade
Directed by Kate Bergstrom
The Repertory Theatre of St. Louis
March 20, 2026

Cast of Ring of Fire
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis’s latest production is a celebration of a man and his music, with the music taking the lead. Ring of Fire: the Music of Johnny Cash has been done at the Rep before, although this version, directed by Kate Bergstrom, seems a bit more dramatically focused, although music is still the star, with an excellent cast who all play instruments and make this “life of a musician” retrospective especially compelling, along with the show’s focus on talented but flawed individual who made the music. 

The show, featuring a cast of six players includes two “Johnny Cash” figures–the older Johnny (Kurt Zischke), who serves as the primary narrator; and the younger “J.R” (Andrew Frace), who figures in much of the developing story of Cash as a rising young performer. The production uses music to tell a fairly streamlined story of Cash’s life and career, featuring his parents (Zischke and Kim Blanck), his first wife, Vivian (Blanck), and most prominently his second wife, June Carter Cash (Caitlin McKechney), as the older Cash looks back on his life and personal choices. All along, the music is there, setting the mood and underscoring the story, as the musicians play expertly, including Eric Scott Anthony as Marshall and Ryan Guerra as Luther–Cash’s bandmates. It’s a story of hardship, love, and loss; aspiration, failure, and success; redemption and hope, all with the soundtrack of Cash’s classic hits like “I Walk the Line”, “Folsom Prison Blues”, “I’ve Been Everywhere”, and “Ring of Fire”, along with some country classics and traditional hymns. 

The music is the star, as I wrote, but the cast is simply magnificent as well, doing justice to the songs and overall spirit of musicianship and perseverance in trials. Zischke and Frace are both excellent as the older and younger versions of Cash, both managing to sound a lot like the singer in his different ages and eras. Frace especially gets the swagger and tone of the young Cash just right, as well as the stage presence, and Zischke has the right air of gravity and occasional melancholy as the older Cash looking back on his life. Zischke also has some fun moments early in the show as Cash’s father, paired with the personable and equally strong McKechney as Cash’s mother. McKechney is also ideally cast as June, managing to look and sound a lot like the real June, while playing a variety of instruments with dexterity and style and displaying believable chemistry with both “Johnnys”.  Blanck is also strong musically, especially on the fiddle, as well as getting a poignant moment as the neglected Vivian singing the heartbreakingly genuine “I Still Miss Someone”. Anthony and Guerra round out the cast with their superb musicianship, likable presence, and seemingly boundless energy. While the story itself isn’t exactly a thorough biography, it’s mostly about feelings, memories, and music, and all the players work well together getting that spirit across with flair.

In a technical sense, the show is simply and solidly staged, with an effective unit set by Scott C. Neale that reflects Cash’s farming roots and the traditions of country music. It’s all well lit by lighting designer Jayson Lawshee-Gress, with strong work by sound designer Amanda Werre, as well. The cast is outfitted with impressive country style by costume designer Renee Garcia, and there’s a bit of energetic country choreography by Taavon Gamble.

Overall, Ring of Fire is immensely entertaining, even if it is more concert than play. It should especially appeal to fans of traditional country music, and especially Johnny Cash. It’s certainly a crowd pleaser, and a highly enjoyable evening of musicianship, energy, and emotion in celebration of an imperfect but irreplaceable country music legend.

Andrew Frace, Kurt Zischke
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Ring of Fire: The Music of Johnny Cash at the Loretto-Hilton Center until April 12, 2026

Read Full Post »

“Million Dollar Quartet Christmas” is a Well-Cast, Tuneful Celebration from the Rep and STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , on December 10, 2024| Leave a Comment »

Million Dollar Quartet Christmas
Book by Colin Escott
Directed by Keith Andrews
Repertory Theatre of St. Louis and STAGES St. Louis
December 6 ,2024

Cast of Million Dollar Quartet Christmas
Photo by Jon Gitchoff
Repertory Theatre of St. Louis, STAGES St. Louis

Both the Rep and STAGES St. Louis have presented the musical Million Dollar Quartet before, with STAGES’ version occurring just last season. Now, the two prominent local companies are teaming up for the first time to present the holiday-themed sequel, Million Dollar Quartet Christmas, with most of the cast from last year’s STAGES show on the Rep’s main stage at  the Loretto-Hilton center for a well-cast evening of music, reflection, and yuletide cheer as the cast of (mostly) well-known characters continue their jam session with a series of popular songs and holiday favorites.

Since the “Million Dollar Quartet” of Elvis Presley (Sean Buckley), Johnny Casy (Scott Moreau), Carl Perkins (Jeremy Sevelovitz), and Jerry Lee Lewis (Brady Wease) were only brought together by producer Sam Phillips (Jeff Cummings) at the Sun Records studio in Memphis on one occasion, I wondered how a sequel would work. What book writer Colin Escott has done, however, is just to extend that “jam session” on the same night, taking place after the four posed for the famous photo. It’s December, and Christmas is approaching, so I guess it makes sense that the group would add some carols and other holiday tunes to their repertoire such as “Rockin’ Around the Christmas Tree”, “Go Tell It on the Mountain” and “Blue Christmas”, along with a few other hits of the day including Elvis’s “Don’t Be Cruel” and well known songs by other artists including “Que Sera, Sera”, “Hot Diggity Dog” and more. It isn’t purely a concert, though, and there is a bit of  a plot, if you can call it that, as Phillips continues to express his disappointment at the artists leaving Sun Records for more glamorous contracts elsewhere, the artists stress over family commitments and other developments,  and the role of Elvis’s fictional girlfriend, Dyanne (Shelby Ringdahl) has been expanded in a way that works surprisingly well, as she serves as more a catalyst for some of the events this time as well as having some memorable vocal moments with songs like “Santa Baby” and the aforementioned “Que Sera, Sera”. 

It’s a fun musical experience, with a great cast returning and turning in stellar performances all around, joined by newcomer Buckley as an appropriately charismatic, vocally strong Elvis who also moves well. Sevelovitz and Zayas, as Carl and Jay Perkins, are standouts again as they were last year at STAGES, and Wease has all the electric energy that the role of Lewis requires, along with great piano skills. Moreau is solid as Cash, as well, and Ringdahl gets an impressive showcase in the slightly expanded role of Dyanne. Cummings as Phillips is also strong, although the script can make him occasionally come across as overly whiny, and there’s also strong support again from musical director Dave Sonneborn as percussionist W.S. “Fluke” Holland. This is a fun little story, but mostly it’s a jam session, and it’s all about the music, which is played very, very well, and with an additional dose of holiday spirit this time.

The set by Adam Koch is appropriately authentic-seeming, and there’s also excellent lighting by Sean M. Savoie and sound by Beef Gratz. The costumes by Brad Musgrove are suitably colorful and authentic to the characters who wear them. The late 1950’s atmosphere is well-maintained, along with the extra Christmasy elements that make this a holiday show.

Overall, Million Dollar Quartet Christmas is just about as entertaining as the first addition, coming across as something of an extended, holiday-themed encore. It’s great to see the impressive cast returning, with an excellent new addition in Buckley. What’s especially encouraging, though, is the collaborative effort of the Rep and STAGES, and I hope this won’t be the last time we see these excellent companies working together.

Brady Wease, Scott Moreau, Jeremy Sevelovitz, Shelby Ringdahl, Sean Buckley, Chuck Zayas
Photo by Jon Gitchoff
Repertory of St. Louis, STAGES St. Louis

The Repertory Theatre of St. Louis and STAGES St. Louis are presenting Million Dollar Quartet Christmas  at the Loretto-Hilton Center until December 22, 2024

Read Full Post »

STAGES Celebrates Classic Rock ‘n Roll with Ideally Cast “Quartet”

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on September 19, 2023| Leave a Comment »

Million Dollar Quartet
Book by Colin Escott and Floyd Mutrux
Original Concept and Direction by Floyd Mutrux
Directed and Choreographed by Keith Andrews
STAGES St. Louis
September 13, 2023

Jeremy Sevelovitz, Brady Wease, Edward La Cardo, Scott Moreau
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is closing out their season with a rousing tribute to good old fashioned Rock ‘n Roll, and some of the iconic musicians who helped popularize it in the 1950’s. Using a true event as the basis for a fictionalized story, Million Dollar Quartet–directed by Keith Andrews–also provides an excellent showcase for its cast and a collection of memorable songs. It’s the musicality and presence of the cast, as well as the simple but effective production values, that make this show a delightful, energetic, crowd-pleasing production that celebrates not only the celebrities represented, but the music itself. 

The story is based on a gathering at Sun Records in Memphis, Tennessee in December, 1956, in which Carl Perkins, Jerry Lee Lewis, Johnny Cash, and Elvis Presley all met at the now-legendary studio and recorded some songs together for studio owner and producer Sam Phillips. The iconic “jam session” has become the stuff of legend, but book writers Colin Escott and Floyd Mutrux have played up the “legendary” aspect of the story even more, taking the opportunity to add some biographical details on the performers and Phillips, as well as including many of the performers’ most recognizable hits. The setup involves Philips trying to surprise Cash with a contract renewal, and RCA trying to court Phillips to sell Sun Records and move to New York to work with Elvis again. Also, Elvis did apparently have a girlfriend with him that day, but she wasn’t a singer, so the writers have created the character of Dyanne, an aspiring chanteuse who joins in on the jam session singing lead on some popular hits and harmonizing with the guys on other songs.

The performances are nothing short of stellar, and the casting of the singers and musicians is ideal, with Jeremy Sevelovitz as Carl Perkins on vocals and guitar, and Chuck Zayas as Carl’s brother Jay Perkins on bass being the standouts in terms of pure musicianship. Everyone is in excellent voice, with Scott Moreau as Johnny Cash managing to capture Cash’s deep vocal sound with impressive accuracy, and Edward La Cardo as Elvis has the necessary moves, vocals, and sheer charisma of the young King of Rock ‘n Roll. Brady Wease is a scene-stealer as the showboating Lewis, as well, with great vocals and impressive piano playing. Shelby Ringdahl as Dyanne also adds a likable personality and strong vocals to the mix, and music director David Sonneborn accompanies the group with style as drummer W.S. “Fluke” Holland. The production’s emotional anchor is the excellent, personable Jeff Cummings as Phillips, who provides much of the dramatic weight of the production and makes the somewhat thin plot work smoothly. 

Ultimately, though, it’s the music that makes this show work, and the sheer musicianship and atmosphere, which is ably supported by means Adam Koch’s detailed set, Brad Musgrove’s excellent period costumes, Sean M. Savoie’s vibrant lighting, and the cohesive sound design by Beef Gratz. 

Million Dollar Quartet is both a history lesson and a celebration of the true joy of music, especially old-school rock ‘n roll and pop, traditional country, and some old-time gospel hymns. It’s a marvelous tribute to these iconic performers, as well as their seemingly boundless talent and musicality. 

Cast of Million Dollar Quartet
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Million Dollar Quartet at the Kirkwood Performing Arts Center until October 8, 2023

This review was originally published at kdhx.org

Read Full Post »

The Rep’s “Million Dollar Quartet” is an Energetic Musical Tribute

Posted in St Louis Theatre, tagged , , , , , , , , , on March 21, 2017| Leave a Comment »

Million Dollar Quartet
Book by Colin Escott and Floyd Mutrux
Directed by by Hunter Foster
Repertory Theatre of St. Louis
March 17, 2017

Sky Seals, Dominique Scott, John Michael Presney, Ryah Nixon, Ari McKay Wilford
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Million Dollar Quartet is certainly a crowd-pleaser.  With a catalog of classic music from the early days of rock n’ roll, played and sung live on stage and with a great deal of energy and respect for the material, a show like this is sure to please. The closing show of the Rep’s 50th season, this slightly plotted, music-heavy show is, for the most part, an entertaining success, even though it does have its problems, especially in casting.

The show is inspired by an actual event–a historic day in 1956 when four musical legends–Elvis Presley (Ari McKay Wilford), Johnny Cash (Sky Seals), Carl Perkins (John Michael Presney), and Jerry Lee Lewis (Dominique Scott) all gathered for an impromptu jam session at the Sun Records studios in Memphis. The events here are largely embellished, creating a fictional girlfriend for Elvis named Dyanne (Ryah Nixon) who is a singer and can join in on the music, and focusing a lot of its attention on Sun Records’ founder Sam Phillips (James Ludwig), who is facing a dilemma when he’s offered a chance to sell his company and join Elvis at his new record company, RCA. There’s a big element of “history lesson” to this show as well, telling us a lot about the backgrounds about the various artists. It’s also a lesson in competing egos, as the talented musicians jockey for favor and boast about their success. This gives us a look at future legends still fairly early in their careers, and in the case of Jerry Lee Lewis, at the very beginning of his. For the most part, though, it’s more jam session than story, with the performers playing various hits such as “Blue Suede Shoes”, “I Walk the Line”, “Great Balls of Fire”, and more. There’s even a nod to the late, great Chuck Berry with a performance of “Brown-Eyed Handsome Man”, as well as a foray into Gospel music with “Down By the Riverside”, “I Shall Not Be Moved”, and “Peace In the Valley.”

The music here is really the star, with all the musicians playing their own instruments and performing the songs well. There are some excellent musical moments and some stand-out performances, especially from the energetic, charismatic Scott as Lewis, and by Presney as Perkins, who displays an impressive talent on the guitar. There are also strong performances from Ludwig as Sam Phillips and Nixon as Dyanne, who has strong singing moments with “Fever” and “I Hear You Knockin'”. There’s also strong musical support from Eric Scott Anthony, as Carl Perkins’ brother Jay, on bass, and by Zach Cossman as drummer Fluke. The problematic casting comes in the form of Seals and McKay. Try as he might, the pleasant-voiced Wilford just doesn’t quite convince as Elvis, lacking  in the sheer sense of charisma and magnetism, and although Seals gives a strong acting performance as Cash, his voice isn’t low enough or strong enough to carry off Cash’s classic songs, especially “I Walk the Line” in which Seals noticeably strains to the degree that it affects his overall credibility. Still, everyone seems to be having a great time here, and the group singing sessions are particularly strong.

Technically, the show is simply and effectively staged. There isn’t a need for an elaborate set, as it all takes place in the Sun Records studio, although that studio is vividly realized by set designer Adam Koch, whose two-level set provides the ideal backdrop for the performances. Costume designer Lauren T. Roark has outfitted the performers well, in colorful period-specific costumes that suit the various performers well. There’s also excellent lighting by Kirk Boookman and sound by Bart Fasbender, highlighting the clarity, energy, and sheer musicality of the performance.

This is a fun show, and even though it isn’t perfect, it entertains. Toward the end of the production, a photo and recording of the real legendary performers is shown, and it does serve as something of an extra reminder that what we’re seeing on stage is only an imperfect re-creation. Still, Million Dollar Quartet is full of great music and serves as a fitting tribute to its subjects. Even though the casting isn’t always ideal and it often comes across as more of a concert than a play, it’s a lively, well-played presentation featuring a lot of great music that is worth hearing, remembering, and celebrating.

Repertory Theatre of St. Louis is presenting Million Dollar Quartet until April 9, 2017.

Read Full Post »

Celebrating Johnny Cash at the Rep

Posted in St Louis Theatre, tagged , , , , , , , , , on December 8, 2014| Leave a Comment »

Ring of Fire: The Music of Johnny Cash
Created by Richard Maltby, Jr.
Conceived by William Meade
Orchestrations by Steven Bishop and Jeff Lisenby
Adapted from the Broadway Production by Richard Maltby, Jr. and Jason Edwards
Repertory Theatre of St. Louis
December 5, 2014

Jason Edwards, Allison Briner, Trenna Barnes, Derek Keeling Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Jason Edwards, Allison Briner, Trenna Barnes, Derek Keeling
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

It’s difficult to categorize the Rep’s latest production. Ring of Fire: The Music of Johnny Cash isn’t a play, and although it’s full of music, it’s not exactly a musical or even a revue. It’s not even, strictly speaking, a concert, even though that’s what it most resembles.  It’s basically an acted concert with commentary, and I don’t think I’ve seen anything very much like it before.  It’s not what I was expecting, although it’s definitely entertaining.  An energetic cast of performers and especially musicians makes for a tuneful, enjoyable evening.

This strikes me as the type of show that would most ideally be performed in residence. at a Johnny Cash or country music museum. It’s not strictly a biography, although it certainly has elements of that, with the show’s two “Johnnys”, Jason Edwards and Derek Keeling, taking turns with the narrative and describing memorable incidents in the singer’s life.  Much of the biographical focus centers on Cash’s relationship with his second wife, singer and musician June Carter, and this production also has two “Junes”: Allsion Briner and Trenna Barnes, with Briner mostly being paired with Edwards’s older Johnny, and Barnes with Keeling’s younger Cash.  Briner also has some memorable moments as Johnny’s mother early in the first act.  In addition to biographical material, the show is also an exploration of themes in Cash’s music, such as faith, suffering, country life, traveling, humor, and romance. There’s also a memorable sequence in the second act focusing on Cash’s songs about prisoners and prison life, such as “Folsom Prison Blues” and “Orleans Parish Prison”.  It’s a celebration of the singer’s musical legacy, with as many songs as the show’s compilers could fit into its two acts, ranging from his radio hits (“I Walk the Line”, “Ring of Fire”, etc.) to traditional songs like “In the Sweet By and By”.  Fans of traditional Country music, and of Cash in particular, are sure to find many songs they recognize well represented here.

The format is somewhat chronological, starting with Cash’s recounting his ancestry and early life, and ending with his death, accompanied by a photo memorial projected on a screen.  The four principals are energetic and engaging, with each having stand-out moments. Edwards, while not sounding very much like Cash, still has a strong presence, and especially makes an impression with “Man In Black” in the second act.  Keeling, as the younger Johnny, has more of a Cash-like voice, and  has some very strong moments with “Sunday Morning’s Coming Down” and “A Boy Named Sue”. Barnes and Briner also display strong voices and a great deal of energy in their roles, with Barnes giving a fun performance of the humorous “Flushed From the Bathroom of My Heart” and Briner excelling on the old hymn “In the Sweet Bye and Bye”. Both also demonstrate good chemistry with their “Johnnys”, trading verses on “If I Were A Carpenter” and other love duets.  The four leads are also backed by an excellent group of musicians who occasionally play small roles in the dramatizations, and occasionally join in the singing. The standouts here are John W. Marshall in a virtuoso performance on the upright bass, and the charming, wiry Brantley Kearns on fiddle and in various singing and speaking roles, most notably in a memorable comic performance of “Delia’s Gone” in Act 2. It’s a very cohesive musical ensemble, bringing life and energy to this great catalog of songs.

The striking set by John Iacovelli features an authentic-seeming country house with a front porch, where the musicians assemble in an extended jam session, and a prominent screen with evocative projections by Joe Payne. Pictures from Cash’s life, as well as various thematic images add to the overall atmosphere and tone of the production. There are also some excellent, colorful costumes by Lou Bird, ranging from classy black suits for the Johnnys to brightly hued dresses for the Junes, and various costumes such as prison garb and farmers’ work clothes for the thematic segments.

As the subtitle states, this show is all about the music of Johnny Cash.  It’s more about the music than the man, to a degree, although it can certainly be said that you can’t really separate this man from his music.  The music is well represented here, from the poignant to the plaintive to the upbeat and whimsical.  Overall, though, the tone is a more contemplative homage to the Man in Black. His fans especially should appreciate this show.

Brantley Kearns Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis

Brantley Kearns
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

Read Full Post »