Posts Tagged ‘justin been’

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

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“The Minutes” At SDT is Chilling, Timely, Darkly Comic Look at Politics, Authority, and the Meaning of History

Posted in St Louis Theatre, tagged , , , , , on October 3, 2025| Leave a Comment »

The Minutes
by Tracy Letts
Directed by Justin Been
Stray Dog Theatre
October 1, 2025

Tawaine Noah, Nick Freed, John Reidy, Gerry Love
Photo: Stray Dog Theatre

Tracy Letts’s The Minutes is a dark comedy that gets darker minute by minute. The Pulitzer-nominated show is an incisive, even brutal critique of small-town American politics that has a lot to say for today’s audiences, especially concerning the concepts of history, tradition, and the pressure to tow the “official” line. At Stray Dog Theatre, this play has been brought to the stage under the direction of Justin Been, featuring a fantastic cast and pacing that works to tell the story in an unrelenting and riveting fashion.

The “world” of this play is fully realized onstage at SDT’s Tower Grove Abbey through means of Been’s painstakingly realistic set, bringing a small-town council chamber to life with meticulous detail. At first, I’m reminded a bit of the modern classic sitcom Parks and Recreation, which also lampoons the minutiae and particularity of small town politics, but Letts’s take in this play is a lot darker, and even–dare I say–meaner. It starts out as something familiar, and anyone who has been in a council or board meeting of any kind will find some issues with which to relate, but there’s more going on here at a City Council meeting for the town of Big Cherry. The people are familiar “types”, as well, and a degree of secrecy from the start, but the evasiveness of these seemingly harmless bureaucrats has a deeper, much more unsettling purpose that unfolds as the story plays out. I don’t want to spoil much, but I will say that it’s especially timely considering a lot of events and discussions going on in our country right now, especially considering the purpose of history, and who gets to decide what the “official story” is.

The story follows newest council member Mr. Peel (Nick Freed) as he arrives for his first meeting as a member, having missed the previous week’s meeting due to a death in the family. As Peel shows up on a stormy night in Big Cherry and the rest of the council members begin to assemble along with clerk Ms. Johnson (Rachel Hanks), Peel is made aware early on that things aren’t as he expected. Most notably, one council member that Peel seems to have been already acquainted with, Mr. Carp (Stephen Peirick), is missing, and Peel is soon told that Carp is no longer a member of the council. It’s also made relatively clear that there was a disagreement of some sort at the prior meeting, although Mayor Superba (Gerry Love) and the rest of the board are insistently evasive about what happened, even going so far as to seemingly suppress the minutes from that meeting, saying they’re not “ready” to be reviewed yet. The meeting then progresses with various topics and arguments over issues of an accessible fountain in a prominent park championed by Mr. Hanratty (Patrick Canute), Mr. Blake’s (Tawaine Noah) insistence on promoting his unconventional crowd-drawing idea for the upcoming (and revered) Big Cherry Heritage Festival. There’s also an ongoing issue of what do with some confiscated bicycles–an issue that was apparently important to Mr. Carp, as well as the evasive and increasingly aggressive Mr. Assalone (Jonathan Hey), who had apparently clashed with Carp. 

Gradually, the issue of the previous meeting keeps being brought up, as does the town’s devotion to its celebrated Heritage Festival and the folkloric story behind it, involving a locally famous 18th Century “battle”, a seemingly heroic Army sergeant, and a clash with a local Native American tribe. As the meeting goes on, the issues get more and more personal and the truth of the previous meeting is finally revealed, uncovering issues that challenge the very soul of the town and the council members, and their vision of the past and how that shapes their goals for the town and hopes for the future. It also presents a dilemma for Peel, who is essentially the stand-in for the audience. 

The script is at turns humorous, witty, sharp, challenging, and has occasional forays into sheer horror, especially at the end, in a change of tone that, while effective, strikes me as a bit “too much”, to the point of potentially distracting from the point the show is trying to make. Still, it’s all acted and staged remarkably well, with riveting performances from all involved, especially standouts Freed as initially idealistic newbie Peel, Peirick as  the passionate, insistent Carp, Hey as the increasingly shady Assalone, Love as the initially affable but somewhat cryptic Mayor, and Hanks as Ms. Johnson, whose sing-song voice and insistently upbeat tone seems to battle with an also obvious sense of resignation. There are also strong performances from the rest of the ensemble, including the aforementioned Reidy, Canute, and Noah, along with Jan Niehoff as the forgetful Ms. Matz, Will Shaw as the board’s senior Member, Mr. Oldfield, and Lavonne Byers as the second most-senior member, Ms. Innes. The interplay and energy between the performers lends a lot to the sense of tension, along with with the humor, drama, and unfolding suspense. 

The excellent set also works as something of a character in the show, aided by fantastically tuned lighting and sound effects by Tyler Duenow and Been, respectively. There’s also a chillingly effective use of music to underscore the action. Colleen Michelson’s costumes are also memorable, crafted with detail to fit the personalities and quirks of the individual characters while also fitting in with the overall “small town” vibe. 

The message of The Minutes is profound and important while also being surprisingly of-the-moment. Small-town politics as well as overall attitudes toward authority and the meaning of history and controlling narratives, are all effectively brought up here in an increasingly brutal satirical manner. There’s a lot to think and talk about here, and SDT has brought this story to the stage with energy, emotion, and theatrical expertise. 

Cast of The Minutes
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting The Minutes at Tower Grove Abbey until October 18, 2025

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Energetic “Rock of Ages” at STL Has Strong Cast, Silly Plot

Posted in St Louis Theatre, tagged , , , , , , , , on April 10, 2025| Leave a Comment »

Rock of Ages
by Chris D’Arienzo
Arrangements and Orchestrations by Ethan Popp
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 3, 2025

Dawn Schmid, Drew Mizell
Photo: Stray Dog Theatre

Where were you in 1987? I know some of my readers probably weren’t even born, and answers to that question will vary among those who were around. For me, I was in high school, and the subject of Stray Dog Theatre’s latest production, the jukebox musical Rock of Ages, is quite familiar to me. Still, the “affectionate parody” route that the script takes comes across as hit or miss, and the plot is aggressively silly. Still, what this show does have going for it is an excellent, enthusiastic cast, a memorable band, and a well-established sense of time and place. 

As I mentioned, I was in high school during the time this show is set, although I was more into “classic rock” (from the 60s and 70s) at the time, and the “hair metal” bands and performers that this story mostly focuses on were not among my favorites. I think that audience appreciation of this show will depend largely on what you think of the music and culture of the hard rock/heavy metal scene in the 1980s, although not all of the music in this show fits neatly into that category, and there are some hits that I think transcend the genre and have more wide appeal. The characters are also largely stereotypes, but the broadly comic tone does provide a good platform for performers to go all out, in both vocals and acting. 

The story focuses mainly on Drew (Drew Mizell), who works as bar staff for the Bourbon Room, a rock club on LA’s Sunset Strip. Drew is an aspiring musician who hopes to make it big. There’s also Sherrie (Dawn Schmid), a “small town girl” from Kansas who heads to LA to pursue an acting career, who meets Drew and becomes a waitress at the club. The two share an attraction, but of course there are obstacles–most of which seem obviously manufactured. Soon, fading rock star Stacee Jaxx (Clayton Humburg), who got his start at the Bourbon Room, is persuaded by the club’s owner Dennis (Jeffrey M. Wright) to perform his last show with his band, Arsenal, before launching a solo career. Jaxx turns out to be a Grade A jerk, to put it mildly, although Sherrie is too starstruck to notice this at first. Meanwhile, German businessman Herz (Jacob Wilkinson)–along with his meek son Franz (Luke A. Smith)–has arrived in town with a plan to redevelop the Sunset Strip, which would include the demolition of the Bourbon Room. Activist Regina Koontz (Sarah Polizzi), who was fired from her position at the mayor’s office for her opposition to the plan, leads a protest and attracts the attention of Franz. There are a few other subplots mixed in as well, all narrated by Dennis’s protege and Bourbon Room sound guy Lonny (Bradley Bliven).

As you can probably see, there are a whole lot of plots here. There are also a lot of cliches and stereotypes, and jokes that range from silly to crass, and the cast does seem to be having a lot of fun here. Mostly, the singing is great, with Mizell, Schmid, Humburg, and Jade Anaiis as Venus Gentleman’s Club proprietor Justice as standouts. Mizell and Schmid make a believable couple, and both give their all to their roles, although the role of Drew is somewhat bland as written. Schmid especially manages to inject a great deal of personality into her role, and Polizzi is also an acting standout with strong comic abilities. Bliven and Wright are also memorable as Lonny and Dennis, and Smith has some memorable moments as Franz, and the ensemble is strong as well, for the most part, especially vocally. Some of the roles are particularly underwritten or stereotypical, like Herz and especially Stacee Jaxx, who comes across as a completely one-note jerk despite Humburg’s excellent vocals and energy. There is dynamic choreography by Mike Hodges that lends pizzazz to the production numbers and memorable songs like “Here I Go Again”, “Don’t Stop Believin'”, “We’re Not Gonna Take It”, and more. 

The visuals here are especially strong, with a marvelously detailed set by Rob Lippert that evokes the look and vibe of a 1980’s hard-rock nightclub with remarkable effect. There are also colorful costumes by Collen Michelson that suit the characters well and effectively  reflect the time and subculture. The wigs by Sarah Gene Dowling are fun, as well, and Tyler Duenow’s lighting is fantastic. There’s also a great onstage band led by music director Mallory Golden. 

Ultimately, Rock of Ages at SDT manages to entertain despite the uneven script. I think it will especially appeal to people who not only remember this era firsthand, but who also love this style of music and these songs especially. It’s a goofy story, but the cast seems to be having a lot of fun. If you have fond memories of 1980s hard rock and heavy metal, I imagine you’ll enjoy this show. 

Cast of Rock of Ages
Photo: Stray Dog Theatre

Stray Dog Theater is presenting Rock of Ages at Tower Grove Abbey until April 26, 2025

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“Nevermore” is a Well-Sung, Fascinating Musical Thriller at SDT

Posted in St Louis Theatre, tagged , , , , , , , , on October 16, 2024| Leave a Comment »

Nevermore: The Imaginary Life and Mysterious Death of Edgard Allan Poe
Written and Composed by Jonathan Christenson
Directed by Justin Been
Choreographed by Maggie Nold
Stray Dog Theatre
October 10, 2024

Drew Mizell (center) and Cast
Photo by John Lamb
Stray Dog Theatre

It’s October, and it’s common for theatre companies to do a “spooky” show in keeping with Halloween. Stray Dog is getting in the spirit of the season with a fascinating, well-staged bio-musical about famed 19th Century writer Edgar Allan Poe, who is best known for the dark subject matter of some of his poems and stories. It’s a small cast show with most cast members playing several roles, and it has a pre-recorded soundtrack backing the singers, but what shines forth in this production especially is the high quality of the singing, as well as the look and overall dark and mysterious tone of the show.

The story is told largely in flashback, as the famous writer Poe (Drew Mizell) is traveling on a train and meets a troupe of actors who recognize him and start acting out his story. The group of six players (Michael Cox, Heather Fehl, Stephen Henley, Kevin O’Brien, Dawn Schmid, and Sara Rae Womack) join in telling Poe’s story, which each of the performers playing several roles. The story follows Poe from his childhood with his parents–who are also performers–and his siblings Henry and Rosalie. As he gets older, he and his siblings are orphaned and sent to live with different families, with Edgar staying with Jock and Fanny Allan, who influence his life in various ways. In young adulthood, Edgar becomes involved with kindred spirit Elmira, who likes his dark and creepy stories and has some of her own, but her parents don’t approve and encourage her to marry into a “better” family. The story then follows the ups and downs of Edgar’s career as a writer, as well as personal struggles with substance abuse, along with his marriage to his young cousin Virginia “Sissy” Clemm. The important biographical points are covered, if sometimes out of order, with the ominous and mysterious tone being kept up throughout, leading up to some surprising revelations and an emotional ending.

The score is pervasive and memorable, with a pre-recorded soundtrack (which was apparently required to be used), which works reasonably well even though I don’t prefer them. The music utilizes the ranges of the singers well, especially the fantastic Mizell’s crystal clear higher range. Mizell has loads of presence as Poe, with a stunning voice and impressive emotional range. The entire cast is strong, as well, with the supporting players handling their multiple roles well. Particular standouts include Schmid as the kind but troubled Fanny Allan and as the devoted Sissy; Womack as the delightfully quirky Elmira; and Henley as Poe’s  optimistic and loyal older brother Henry. Everyone has excellent moments, and the ensemble singing is marvelous.

The show looks great, with an ominous tone maintained by a purple-and-black color palette and a clever multi-level set by director Justin Been. Sarah Gene Dowling’s costumes are also a highlight, with impressive detail and style. The lighting by Tyler Duenow dazzles, emphasizing the shadows and changing moods in the story, and there’s also good work from sound designers Been and Wade Staples–although it was somewhat difficult to hear the singers at the beginning–as well as music director Jennifer Buchheit.

Nevermore is an ideal show for the Halloween season, especially for fans of Gothic horror and mystery, and Poe in particular.  Bolstered by a top-notch leading performance and an excellent ensemble, this is a show that’s both entertaining and appropriately unsettling. It’s an educational experience, as well, and a thoroughly memorable production.

Cast of Nevermore
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe at the Tower Grove Abbey until November 2, 2024

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SDT’s “Ruthless” Satire of Old Hollywood is a Hilarious Hit

Posted in St Louis Theatre, tagged , , , , , , , , on August 8, 2024| Leave a Comment »

Ruthless!
Book and Lyrics by Joel Paley, Music by Marvin Laird
Directed by Justin Been
Choreographed by Sara Rae Womack
Stray Dog Theatre
August 2, 2024

Sarah Gene Dowling, Finley Mohr, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Ruthless! is an apt title for the latest production from Stray Dog Theatre. A combination send-up/tribute to “Old Hollywood” and showbusiness in general, the show debuted off-Broadway in 1992 and become something of a cult favorite. In the hands of director Justin Been and an enthusiastic, talented cast, this show becomes an especially hilarious camp-fest, although I think it helps to be at least somewhat familiar with the material and genres that inform this musical.

At the heart of Ruthless! is an affectionate parody of various “Old Hollywood” and showbiz tropes, and more specifically stories like All About Eve, Gypsy, The Bad Seed, and Inside Daisy Clover. The story follows child prodigy Tina Denmark (Finley Mohr), whose mother, Judy (Sarah Gene Dowling) loves and supports, although she herself doesn’t know where her daughter would have gotten her talent, considering Judy herself sees herself as an untalented “typical” suburban housewife. Suddenly, the mysterious and ambitious talent agent Sylvia St. Croix (Sarajane Clark) appears, determined to make Tina a star. For Tina, however, stardom begins with getting the lead role in her school production of a Pippi Longstocking musical that was written and directed by her frustrated third grade teacher Miss Thorn (Anna Langdon), who once had Broadway ambitions of her own. When fellow student Louise Lerman (Sarah Lantsberger)–whose wealthy parents are bankrolling the show–threatens to get in the way of Tina’s ambitions, the story takes an even darker turn, and that’s only Act 1. Act 2 carries the saga to even greater, and campier, heights of raw ambition, complicated parent-child relationships, and power struggles as the show speeds up the pace on the way to living up to its title in frenetic, darkly hilarious fashion.

While the first act can be a little slow at times, the players give memorable and committed performances, led by Dowling in a versatile turn as the initially upbeat but conflicted Judy, who later undergoes a somewhat radical transformation. Clark is also fantastic as the mysterious, haughty Sylvia, and young Mohr is a delightfully disturbing blend of perky and (dare I say?) ruthless as Tina. There’s also a scene-stealing performance from Laura Kyro as Judy’s adoptive mother, theatre critic Lita Encore, who will not let anyone forget that she hates musicals. Langdon also has excellent moments as Miss Thorn, and Lantsberger offers strong, amusing support in a dual role as Louise Lerman and as Judy’s assistant “Eve” in Act 2. It’s a cohesive cast, and the chemistry between Dowling, Clark, and Mohr is especially memorable, with a ferocity that adds to the overall dark-comic atmosphere of this production. 

The look of this show is a well-realized mid-century marvel, as well, with an effective set by Rob Lippert and marvelous costumes by Colleen Michelson that add to the overall classic showbiz look. There’s also strong work from lighting designer Tyler Duenow and sound designer Been. The small band, led by music director Randon Lane, adds much to the overall sound of the catchy score and lending able support to the excellent singing.

Another fun touch in this show is all the references to the shows and films it’s parodying, which is another reason it’s helpful to be familiar with a lot of those stories. While it does have it’s slow moments, Ruthless! is, for the most part, a whole lot of fun. If you’re looking for a campy, fiercely dark showbiz musical with the glamour of the “old days’ and energetic performances, SDT’s current production is a good place to go.

Sarajane Clark, Sarah Gene Dowling, Laura Kyro
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ruthless! at Tower Grove Abbey until August 24, 2024

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SDT’s “Xanadu” is Energetic, Nostalgic Fun on Wheels

Posted in St Louis Theatre, tagged , , , , , , , , on April 5, 2024| Leave a Comment »

Xanadu
Book by Douglas Carter Beane
Music and Lyrics by Jeff Lynne and John Farrar
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 3, 2024

Shannon Lampkin Campbell, Phil Leveling
Photo by John Lamb
Stray Dog Theatre

Where were you in 1980? I know a fair amount of my readers probably weren’t even born yet, but I was around. I was a kid, and like many other kids in the neighborhood, I liked to roller skate. The skates, and the iconic soundtrack featuring ELO and Olivia Newton-John, are what I remember most about the notorious cinematic flop-turned-cult-classic Xanadu, which was later turned into a surprisingly successful Broadway musical with a book by Douglas Carter Beane, and a production team that recognized the cheesy appeal of the original and decided to lean into it. At Stray Dog Theatre, an enthusiastic cast directed by Justin Been positively revels in the nostalgic silliness, with a result that’s marvelously entertaining. 

The show’s charm is that it doesn’t parody the original source as much recognizing its cult appeal and ramping up the cheesy, campy, nostalgic aspects of it, making for an infectiously hilarious story that celebrates its own silliness while also highlighting the film’s famous soundtrack. It also adds in other hits by ELO’s Jeff Lynne and by Australian composer-producer John Farrar, who wrote many of Olivia Newton-John’s biggest hits. So, in this story of a self-doubting Venice Beach artist, Sonny (Phil Leveling) who meets a literal Greek Muse, Clio/Kira (Shannon Lampkin Campbell) and aims to turn an old theatre into an arts venue and roller disco, we get to hear the film’s hit songs like “All Over the World”, “Magic”, and “Xanadu”, along with ELO classics like “Evil Woman” and “Strange Magic” and Newton-John hits like “Have You Never Been Mellow”. The clever book also features some fun pop-culture jokes and a good deal of meta-humor along with the film’s tale of love, Greek Mythology in the “modern” (1980s) world, music and roller skating. 

The show also features a funny villainous subplot involving scheming Muses Melpomene (Chelsie Johnston) and Calliope (Sarah Gene Dowling) who are out to put a curse on Kira/Clio and providing for some hilariously memorable moments. Also, the older, jaded real estate tycoon Danny Maguire (Scott Degitz-Fries)–who owns the dilapidated theatre and was played by Gene Kelly in the film–is on hand, as he’s sure he’s seen Kira before, many years ago, and seeing her now reawakens memories and feelings of the more idealistic goals he once had. The story of music, magic, and mythology highlights the roller skating in inventive ways as well as featuring some comically marvelous production numbers.

The performers are all invested in this cavalcade of colorful, campy nostalgia, led by impressive turns from Campbell as the perky and persistent Kira and Leveling as the self-doubting, not super bright but charmingly idealistic Sonny. Their chemistry is excellent, making the somewhat silly love story work, and Campbell’s vocals have the tone and power to carry the classic Olivia Newton-John songs of the score. There are also fun performances from Johnston and Dowling as gleefully villainous Muses, along with Degitz-Fries in a dual role as Danny and Greek god Zeus. Degitz-Fries, as the skating consultant, is also especially great on wheels, featuring in some impressive skate-tapping along with Campbell as Drew Mizell as a younger version of Danny in one memorable number. The whole ensemble is excellent and full of energy–including cast members Mateo Bleuemel, Lindsey Grojean, Madison Mesiti, Katie Orr, and Lauren Tenenbaum–playing various roles from Muses to musicians to mythological creatures and members of the ancient Greek pantheon, and everyone is reveling in the good-natured goofiness that brings a lot of heart and humor to some of the most wonderfully wacky production numbers I’ve seen from this company, with memorable choreography by Mike Hodges.

The technical aspects of this show add to the fun, with a somewhat minimal set by director Been that provides a versatile and colorful backdrop for the story. There are also suitably nostalgic and inventive costumes by Colleen Michelson and impressive hair and makeup by Dowling. The well-designed and visually striking lighting by Tyler Duenow also adds to the overall tone of the show, as does the great-sounding band led by music director Leah Schultz, adding an upbeat groove to the pop-disco score. 

Overall, Xanadu at Stray Dog Theatre is a whole lot of fun. I can’t imagine a better way to adapt the original film, which does have a cult following but was widely panned and is very much tied to its time. Highlighting the nostalgia, humor, and heartfelt silliness is certainly the right way to go here, and SDT has done a great job of bringing all that colorful goofiness to the stage. I found myself unable to stop smiling in some of the more over-the-top moments. I would call this a “feel-good” show in the best sense of that term. 

Cast of Xanadu
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Xanadu at the Tower Grove Abbey until April 27, 2024

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A Nostalgic, Somewhat Lukewarm “Fever” From Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , , , , , , , on October 9, 2023| Leave a Comment »

Saturday Night Fever
Based on the Paramount/RSO Film, and the story by Nik Cohn
Adapted for the Stage by Robert Stigwood, in Collaboration with Bill Oaks
North American Version Written by Sean Cercone and David Abbinanti
Featuring the Songs of the Bee Gees
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
October 5, 2023

Drew Mizell, Sara Rae Womack
Photo by John Lamb
Stray Dog Theatre

Saturday Night Fever, the film and the soundtrack, have become cultural icons over the years, synonymous with the 1970’s for many people, whether or not they were around at the time or even saw the film. The image of John Travolta in his crisp white suit, and the celebrated songs of the Bee Gees are ingrained in the minds of many, to the point where a lot of people don’t even remember the actual story. It’s about the music, the dancing, the vibe of the late 70’s disco craze. The story was turned into a stage musical in the 1990’s, first for the London stage and later on Broadway, and now Stray Dog Theatre is bringing that show to St. Louis, with a fairly large cast, engaging leads, a light-up dance floor, and a vibe that approximates, but doesn’t quite capture, that authentic “Disco Fever” feel.

I’ve personally had a longtime love-hate relationship with Saturday Night Fever. I was in elementary school when the movie came out, and I saw the re-edited PG version, but for me, the movie was about the music, and the dancing, and putting the record on at home and dancing with my siblings and friends from the neighborhood. The story didn’t make a strong impression on me then, but when I saw the original version years later in college, the story kind of left me underwhelmed, and I found I disliked most of the characters, so I decided I didn’t need to see it again, but I still loved the music. When Stray Dog announced this production, I was curious, wondering if the story would be adapted to make it more interesting, and there have been some changes, including removing my least favorite aspect of the film plot and softening some of the characters to make them more likable, but on stage, the story comes across as choppy and disjointed, and an unwelcome distraction from the real reason to see this show–the music, the dancing, and the 1970’s nostalgic vibe that comes from the scenes set in the disco. The home scenes with lead character Tony Manero (Drew Mizell) and his immature, selfish friends and bickering family don’t hold attention nearly as well. 

The show is mostly carried by the leads–Mizell as the disco-obsessed, otherwise directionless Tony, and Sara Rae Womack as Stephanie, an upwardly mobile young woman who aspires to a better life in Manhattan and is a talented dancer. Mizell has the charm, presence, and moves to make Tony compelling, and he and Womack make a strong impression especially in their scenes together. The rest of the cast is hit-or-miss, but I don’t think the structure of the script does them any favors. Standouts include Lindsey Grojean as the lovesick (for Tony) Annette, who has a memorable solo on “If I Can’t Have You”, along with Justin Bouckaert as Tony’s conflicted friend Bobby, Chris Moore as club MC Monty, and especially Jade Anaiis Hillery as singer Candy, who belts out the disco hits with gusto and a powerful voice. As for the rest of the ensemble, they do their best, but it’s hard to find much energy in a script that hops around so much that it isn’t able to find much focus or weight, losing the dramatic moments only coming alive during the club scenes, although the actual dancing could use a little more “flow” and energy as well.

As for the production values, this show tries, but seems oddly muted a lot of the time. There’s an excellent band led by music director Leah Schultz, but it’s hard to hear them much of the time, and the multilevel set by Josh Smith is serviceable, but not spectacular. Colleen Michelson’s costumes sometimes evoke the disco era, but are also oddly muted at times. As for lighting by Tylor Duenow, it works especially well in the disco scenes, but could use a bit more dazzle as well. The scene changes are also kind of choppy.

Overall, Saturday Night Fever has its moments–especially in the dance club scenes–but doesn’t hold up in comparison to many of the other excellent musicals SDT has produced. I think this is largely the fault of the material, since I don’t think even the flashiest, most dazzling production values could do much for the clunky script, but I have to admit I’m disappointed. If you love the film, and the story, you might enjoy it more, and the leads are excellent, so there is entertainment to be had here, especially if you like the music. Still, I’m not sure this was the best movie to turn into a stage show.

Cast of Saturday Night Fever
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Saturday Night Fever at Tower Grove Abbey until October 28, 2023

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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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Stray Dog Theatre’s Memorable “Cyclone” is a Whirlwind of Emotions, Memorable Music

Posted in St Louis Theatre, tagged , , , , , , , on December 3, 2022| Leave a Comment »

Ride the Cyclone
Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
December 2, 2022

Riley Dunn, Grace Langford, Eileen Engel, Mike Hodges, Dawn Schmid, Stephen Henley
Photo by John Lamb
Stray Dog Theatre

When Stray Dog Theatre originally announced this season a while back, I was unfamiliar with Ride the Cyclone. Since then, over the past year, I’ve seen it mentioned quite a bit in theatre fan spaces online. Although it’s never had a Broadway run (yet), this quirky Canadian musical has developed a fairly large cult following, so I read more about it and was looking forward to seeing SDT’s production to see what all the enthusiasm was about. After seeing the show, I’m pleased to say that for the most part, it lives up to the hype. With the great cast that SDT has assembled, along with excellent production values, it’s a little show with a memorable score and a compelling story.

Ride the Cyclone has a fairly familiar general setup, in a broad sense, that has been used in several other musicals, such as Cats and another recent SDT show, The 25th Annual Putnam County Spelling Bee. Several characters tell their stories, with one of them selected to win a “prize” of some sort at the end.  Here, the characters are teenagers from a Canadian high school choir who recently were killed in a roller coaster accident at a traveling carnival, and they are “competing” for a second chance at life. The host for the event is The Amazing Karnak (billed “As Himself” in the program), a carnival fortune telling machine that has the mysterious ability to predict the exact day of a person’s death, including his own. Karnak has assembled the five choir members and a mysterious sixth teen only known as “Jane Doe” (Dawn Schmid) to plead their cases and then vote for which one should be brought back to life. The characters are a varied collection of personalities, from chronic overachiever Ocean (Eileen Engel) to her professed BFF and “nicest girl in school” Constance (Grace Langford), to the theatrical Noel (Mike Hodges), who laments being seemingly the only gay teen in his small town. We also meet Misha (Riley Dunn), an aspiring rapper who is originally from the Ukraine and who pines for his online fiancée; and Ricky (Stephen Henley), who was somewhat isolated due to a degenerative illness and constructed an elaborate imaginary adventure for himself in his head. These five–along with Jane Doe, who was unidentified after the crash and doesn’t remember her life–each get their solo moments to state their cases, or for the most part, simply to tell everyone else who they were. Most of the “campaigning” comes from Ocean, who sees herself as the obvious candidate for a second chance. The interactions between the characters are the center of the story, along with their strikingly staged musical moments–ranging from the more straightforward (Ocean’s “What the World Needs) to the elaborate (“Noel’s Lament” and Ricky’s “Space Age Bachelor Man” to the more melancholy and/or haunting numbers like Misha’s ode to his far-away fiancée “Talia” and the memorable “Ballad of Jane Doe”, to Constance’s cathartic “Jawbreaker/Sugarcloud”.  

The tone of the show is darkly comic, for the most part, with some poignant moments of drama thrown in. There’s an overall eerie quality set by Jane’s haunting “Dream of Life” from the very beginning, and that mood shapes much of the proceedings even at their most comic. I see why this has such a following, especially among teens and young adults, since there’s a lot here with which to relate in terms of growing up and figuring out one’s purpose in life, even here where we are already told most of the characters won’t be continuing in the land of the living. There’s a sense of “what could have been” that lingers in the air, adding weight to the stakes, as well as providing cause for personal reflection for the audience. 

All of the performers are ideally cast, giving top-notch performances with excellent characterization and vocals. The ensemble chemistry is essential in a show like this, and that’s on display here in a big way. It’s hard to single anyone out, because everyone fits their roles so well. Still, for me the biggest standouts are Schmid with her strong vocals and otherworldly and melancholy portrayal; and Langford as the “nice girl” Constance who is keeping a secret, and eventually and dramatically reveals it. Everyone is great though, and the staging is also memorable with some fun choreography by Hodges and some hilarious production numbers–most notably from Henley and Hodges in their characters’ big moments. 

The production values are truly spectacular, especially from a smaller theatre company without an enormous budget. SDT pulls out all the stops, with a mood-setting, detailed set by Josh Smith, spectacular costumes by Engel, dazzling lighting by Tyler Duenow, and superb projections by director Justin Been that contribute to some of the shows more intensely poignant moments. There’s also a great on-stage band led by music director Leah Schultz, providing strong musical accompaniment to the story and the singers.

Ride the Cyclone might be a show that has flown under your radar, but I would highly recommend checking out this production. It’s a thought-provoking story with a memorable score and some striking visuals, as well as providing a showcase for a truly excellent cast. Especially if you’re into more quirky, off-beat shows with a bit of an edge, this is one not to be missed. 

Grace Langford, Riley Dunn, Mike Hodges, Dawn Schmid, Eileen Engel, Stephen Henley
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ride the Cyclone at Tower Grove Abbey until December 17, 2022

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“A Little Night Music” is an Emotional, Melodic Delight at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , , , on October 8, 2022| Leave a Comment »

A Little Night Music
Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
October 6, 2022

Jonathan Hey, Paula Stoff Dean
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is honoring the late Stephen Sondheim with a delightfully vibrant production of the composer’s 1973 musical A Little Night Music. Although in his pre-show speech artistic director Gary F. Bell mentioned that this show was planned before Sondheim’s passing, it’s nonetheless a fitting tribute to the celebrated legend of musical theatre to have one of his well-known shows staged with such energy and style. At SDT, this production highlights acting, emotion, and musicality in a memorable and thoroughly entertaining way.

This is the second production of this show I’ve seen this year. The first one, by a local opera company, was also excellent, although SDT’s version seems to emphasize the sensuality and emotion a little more in this tale of entanglements, temptations, and volatile emotions in early 20th Century Sweden. There’s a fairly large cast of characters, but the main focus is famous stage actress Desirée Armfeldt (Paula Stoff Dean) and lawyer Fredrik Egerman (Jonathan Hey), who were once lovers but have been apart for 14 years before being reunited when Fredrik takes his new, much younger wife Anne (Eileen Engel) to one of Desirée’s plays. Anne, who professes to love Fredrik but who still refuses to consummate the marriage, is distraught when it becomes obvious that her husband carries a torch for Desirée, though at first he claims not to know her. Meanwhile, Anne engages in somewhat of a flirtation with Fredrik’s son Henrik (Bryce A. Miller), an earnest young seminary student who tries to suppress his feelings for his young stepmother. Eventually, Desirée arranges to have her mother, Madame Armfeldt (Liz Mischel) invite the Egermans to her country estate for the weekend, and Desirée’s latest paramour, the jealous and self-important Count Carl-Magnus Malcolm (Scott Degitz-Fries), decides to crash the party along with with his neglected wife, Charlotte (Madeline Black), who hatches a plan to make her husband jealous so he will drop the affair with Desirée, who already appears to be tiring of the affair and turning her affections back to Fredrik. Also figuring into the story are Desirée’s young daughter Fredrika (Adeline Perry), who has been living with her grandmother while Desirée tours; Anne’s romantically adventurous maid Petra (Sarah Gene Dowling), and a quintet listed here as the “Liebeslieder Singers” (Cory Anthony, Shannon Lampkin Campbell, Jess McCawley, Kevin O’Briend, and Dawn Schmid), who serve as something of a Greek Chorus, singing songs that offer commentary on the proceedings. 

The plot may seem somewhat convoluted, but it all makes sense in the context of the show, and the subplots weave together with precision. The themes include the volatility of relationships, moral hypocrisy in high society, the fleeting nature of life, and more. It’s a highly melodic show with an Old World atmosphere, and a style that’s obviously influenced by older European musical styles, as well as operetta. There’s comedy ranging from the light and witty to the more risqué, as well as some darker comic moments along with moments of poignancy and romance. The staging here gets the tone just right, with the right balance of wit, energy, and drama, with a superb cast who are all in excellent voice, led by the wonderfully melodic Liebeslieder Singers, who also play other roles in the story as needed. There’s also excellent, waltz-heavy choreography by Michael Hodges that fits well with the mood of the show, along with an excellent small orchestra led by music director Leah Schultz.

As for individual performances, it’s great to see Dean again, who makes a return to SDT after several years, and who shines as Desirée, especially showcasing the character’s wit and strength, also providing a particularly emotional rendition of the show’s most famous song, “Send in the Clowns”. Dean is well-matched by the equally excellent Hey, who is especially adept at showing Fredrik’s vulnerability and progression of awareness through the course of the show. There are also standout performances from Miller as the conflicted, idealistic Henrik and Engel as the also conflicted Anne, who doesn’t seem to know exactly what she wants until suddenly, she does. Mischel is also memorable as the strong-minded but somewhat regretful Madame Armfeldt, and young Perry makes a strong impression as the curious and surprisingly observant Fredrika. Degitz-Fries and Black give fine performances as the Malcolms, as well, as does Dowling in a memorable and well-sung turn as Petra. It’s a strong ensemble all-around, and they do justice to Sondheim’s classic score and Hugh Wheeler’s witty, incisive book.

The show looks wonderful, as well, with gorgeously appointed period costumes by Engel, excellent atmospheric lighting by Tyler Duenow, and a minimal but effective set by Justin Been, consisting of a color-changing backdrop and various furniture pieces as needed. It’s a musical delight from start to finish, and one of the most marvelous shows I’ve seen from the already excellent Stray Dog Theatre. A Little Night Music may not be as well known as some other Sondheim shows, but this production emphasizes its classic, timeless appeal.

Cast of A Little Night Music
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting A Little Night Music at Tower Grove Abbey until October 22, 2022

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