Posts Tagged ‘justin been’

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

Read Full Post »

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

 

Read Full Post »

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

Read Full Post »

“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

Read Full Post »

Stray Dog Theatre Stages Hilarious, Endearing “Spelling Bee”

Posted in St Louis Theatre, tagged , , , , , , , , , on August 5, 2022| Leave a Comment »

The 25th Annual Putnam County Spelling Bee
Music and Lyrics by William Finn, Book by Rachel Shinkin, Conceived by Rebecca Feldman
Additional Material by Jay Reiss
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
August 5, 2022

Kevin Corpuz, Dawn Schmid, Grace Langford, Clayton Humburg, Kevin O’Brien, Sara Rae Womack, Chris Kernan
Photo by John Lamb
Stray Dog Theatre

The spelling bee is one of those childhood rites of passage that many adults can relate to. I know I can. I still remember the word I was disqualified on in my 8th grade bee (“crucible”–I’d spelled it correctly, but I had started over after first missing the “r”). It also works as a seemingly innocuous but potentially high-pressure event that can bring out a lot of emotion and reflection in the participants. I think it’s this reflective quality that makes The 25th Annual Putnam County Spelling Bee work so well as a concept. Of course, the great script, catchy songs, and memorable characters also help a great deal. As staged at Stray Dog Theatre, this show comes to life in all its charming, goofy, and insightful glory, as portrayed by a great cast of talented local performers.

The concept is fairly simple, but there are some fun touches that make the show especially fun. For instance, there’s an interactive aspect, in which four audience members who signed up to participate are brought onstage to compete alongside the “official” cast members. The spelling bee is serious business for its participants, from adults staffing the bee to the student spellers, who appear to be upper elementary and middle-school aged. The host is former champion Rona Lisa Peretti (Stephanie Merritt), who seems a little overinvested in the proceedings at times. She’s assisted by “comfort counselor” Mitch Mahoney (Chris Kernan), who is there because he has to be (the reason is explained in the show), but who soon finds himself caring more about the bee and its contestants than he had expected. There’s also Douglas Panch (Jason Meyers), a local elementary school vice principal, who announces the words and doesn’t always deal with unpredictable situations well. The spellers are a collection of students with their own quirks, foibles, and stories–last year’s champion, the high-achieving Chip Tolentino (Kevin Corpuz); socially awkward and serious speller William Barfée (Kevin O’Brien), who has an unusual way of remembering his spellings; sweet-natured homeschooler Leaf Coneybar (Clayton Humburg), who is insecure about spelling because his family doesn’t think he’s up to the challenge; young activist Logainne Schwartzandgrubenierre (Dawn Schmid), who faces family pressures of her own; academically gifted Marcy Park (Sara Rae Womack), who feels pressure from all around to be the best at everything; and Olive Ostrovsky (Grace Langford), who loves language and words, reads the dictionary for fun, and wishes her busy parents could be there to watch her in the bee. The format follows the spelling bee with a few “breaks” for the various characters to tell their stories. Obviously, since this is a competition, someone has to win, and the order of elimination provides a degree of suspense, as rivalries play out, friendships are formed, and words are spelled, defined, and used in a series of hilariously silly sentences. 

This is a sweet show, overall, with a little bit of raunchy, but mostly PG-13, humor thrown in, and the characters are well defined. Though the spellers do have their individual quirks, they don’t come across as caricatures. There are also some memorable songs the characters each tell their stories as the bee plays out. These are characters you get to know, and care about. The script is intelligent, witty, and insightful, and the performers bring the characters to life with a lot of energy and heart. Everyone is excellent, with wonderful ensemble chemistry, but if I have to pick standouts I’d have to say Langford is especially strong as the dictionary-loving, sweetly earnest Olive, and Humburg also has a charming turn as the offbeat Leaf. Kernan is also memorable as Mitch, with a strong voice and believable character arc, and O’Brien has a fun moment leading a production number about his “Magic Foot” spelling technique. Everyone is excellent, though, in voice, in comic timing, and in ensemble chemistry. There are no weak links here, and as some might want to say about the spelling bee, everyone is a winner–truly.

On the technical side, the production is also strong, with excellent use of lighting by Tyler Duenow to emphasize specific moments in the show, and a simple but effective set by director Justin Been. Eileen Engel’s costumes are also memorable, fitting the characters and their individual personalities especially well. There’s also a great band led by music director Leah Schultz, and effective sound design by Jacob Baxley, although there were a few moments where the volume seemed uneven and jarring, although in some cases that seemed to be intended for story purposes. 

The 25th Annual Putnam County Spelling Bee is a musical I had heard a lot about, but had never seen until this production. I’m glad this production has been my introduction to this show, since everything–from staging, to singing, to casting, to look and atmosphere–seems ideal. There are even some fun topical references thrown in for additional humor. Overall, this is a sweet, funny, quirky, thoughtful show that is sure to provoke a lot of reflection, and maybe even some nostalgia, from the audience. 

Dawn Schmid, Chris Kernan, Kevin Corpuz, Kevin O’Brien, Clayton Humburg, Grace Langford, Stephanie Merritt, Sara Rae Womack
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting The 25th Annual Putnam County Spelling Bee at Tower Grove Abbey until August 20, 2022

Read Full Post »

SDT Takes Audience on an Amusing, Energetic “Triassic” Journey

Posted in St Louis Theatre, tagged , , , , , , , , , on April 21, 2022| 1 Comment »

Triassic Parq: The Musical
Book, Music, and Lyrics by Marshall Pailet
Book and Lyrics by Bryce Norbitz and Steve Wargo
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
April 15, 2022

Rachel Bailey, Bryce Miller, Tristan Davis, Michael Wells, Dawn Schmid
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is going on a modern prehistoric adventure with an entertainingly goofy show that presents itself as a parody of a well-known book and movie franchise. It’s not Jurassic Park, but it is, sort of; or it uses that story as a starting point before going its own way, with its funny title, silly and frequently raunchy humor, and dinosaurs galore. In fact, it’s the dinosaurs who take center stage here, played by an impressive, enthusiastic cast, and featuring some catchy songs and eye-catching production values. 

This story leans into the silly humor, and the dinosaur-theming. The lead characters are dinosaurs, and the humans are mostly only mentioned and not seen, with one notable exception–a funny “cameo” by initial narrator Morgan Freeman (Laurell Stevenson) Even the band is presented as made up of dinosaurs. billed as Pianosaurus (Leah Schultz), Guitarotops (Adam Rugo), and Drumadon (Joe Winters). Pianosaurus even figures into the story and interacts with the main characters at various points. Those main characters are, as one might expect knowing the source material, mostly velociraptors and t-rexes, with the addition of another dino called “Mime-A-Saurus” (Bryce Miller) who figures into the story both as a character and as occasional scenery. The key figures are a trio of velociraptors, The Velociraptors of Faith (Michael Wells), Innocence (Tristan Davis), and Science (also Stevenson), as well as two tyrannosaurs, T-Rex 1 or “Kaitlyn” (Dawn Schmid), and her BFF T-Rex 2 (Rachel Bailey). As is explained in the intro that echoes the film, all the dinosaurs are female, or are supposed to be, so they won’t reproduce. Well, that may have been the plan, but soon T-Rex 2 starts exhibiting some strange symptoms and behavior, which leads to some complicated situations which disrupt the established order of things that has been emphasized and enforced by the dinosaurs’ de facto leader and spiritual advisor Faith, who leads the dinosaurs’ religion that centers around worshiping the lab that produced them, as well as hiding uncomfortable truths from Innocence, who Faith refers to as her “Little Miracle”, and is consistently given special treatment, which both confuses and fascinates Innocence. In the midst of the chaos that’s building from T-Rex 2’s discovery as well as Faith’s continued avoidance and efforts to hide uncomfortable truths, Innocence goes on a quest to find the “Exiled One”, Science, who has been sent away from the others after a conflict with Faith. In the midst of the story, the referential humor continues, with jokes involving lines and events especially from the first of the Jurassic Park films. 

While there is a message here, which seems to be a lot about fear of the unknown (as director Justin Been points out in his note in the program), as well as the need for honesty and communication, what stands out the most is the over-the-top humor, including the dinosaur puns, referential jokes, raunchy moments, and more. The songs are mostly rock-based, and are presented well by the cast, who are in excellent voice. The comic timing is strong, as is the ensemble chemistry, with impressive individual performances from all, with a particularly strong turn from Davis as Innocence, who brings a great deal of presence, likability, and soaring vocals to the role. Stevenson is also a standout in two notable roles as well as a small ensemble role, showing off especially strong comic abilities. Schmid as Kaitlyn/T-Rex 1 has a strong voice as well, and a fun, quirky energy, working well with the equally strong Bailey as the conflicted T-Rex 2. Wells, as Faith, handles a difficult role well, and Miller, as Mime-O-Saurus, adds some fun comic moments especially with physical comedy. 

The look and atmosphere here are eye-catching, with a well-realized set by Josh Smith that effectively evokes the setting of the source film without exactly copying it. There’s also dazzling lighting by Tyler Duenow, as well as whimsical, colorful costumes by Eileen Engel that suit the characters well, presenting them as dinosaurs in a more stylized rather than literal way, with some flashy, rock-band like looks. And speaking of bands, there’s a great one here, led by music director Schultz, who also does well with a few small acting moments. The choreography, by Michael Hodges, is energetic and in keeping with the spirit of the production, as well.

This show started at the New York Fringe Festival before eventually running Off-Broadway, and it has the look and attitude of a fringe production. It’s not super deep or profound, and many of its themes have been done before, but it’s fun, flashy, and at SDT, boasts a great cast with strong voices and lots of enthusiasm. It provides for a fun evening at the theatre, especially if you like raunchy, irreverent humor and memorable, rock-based singing. It’s another crowd-pleaser from SDT.

Dawn Schmid, Michael Wells, Laurell Stevenson, Tristan Davis, Bryce Miller, Rachel Bailey
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Triassic Parq: the Musical at Tower Grove Abbey until April 30, 2022

Read Full Post »

Stray Dog Theatre’s “Blue/Orange” Showcases Strong Acting, Challenging Issues

Posted in St Louis Theatre, tagged , , , , , on October 20, 2021| Leave a Comment »

Blue/Orange
by Joe Penhall
Directed by Justin Been
Stray Dog Theatre
October 14, 2021

Jason Meyers, Ben Ritchie, William Humphrey
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre’s second production of it’s latest season is also their first indoors. Playing to a limited capacity audience, the three-person show is a good fit for the situation. Blue/Orange by Joe Penhall is a play that approaches its subject matter from a British perspective, although many of the issues are more universal. SDT’s production brings this challenging, character-focused play to a St. Louis audience with energetic staging and outstanding performances from an excellent cast.

Blue/Orange is urgent in its pacing, and this urgency is well maintained by director Justin Been and the cast of three impressive local actors. The setting is a psychiatric hospital in London early in the first decade of the 21st Century, and the action takes place over a 24-hour period, as patient Christopher (William Humphrey) is getting ready to be released after 28 days. His doctor, Bruce Flaherty (Jason Meyers) has doubts about Christopher’s diagnosis and seemingly too-early release, and has called in his supervisor, Dr. Robert Smith (Ben Ritchie), to confirm Bruce’s doubts. To Bruce’s surprise, though, Robert not only disagrees with Bruce’s concerns–he challenges Bruce’s motives and competency, bringing up various issues including attitudes toward race, as Bruce and Robert are white and Christopher is Black. The subject of money also comes up, as the hospital doesn’t have the funds it needs to keep many patients for longer than 28 days. There’s a power struggle here between the doctors, as well, as Robert is exerting his authority as the higher-ranking and more experienced doctor, and as the more insecure Bruce worries about his opportunity for advancement, also pointing out that Robert has a book he’s hoping to publish, and is hoping to use Christopher as a subject in a study. Christopher, who has trouble trusting either doctor while also seeming to be subject to their manipulation, becomes both a catalyst and a pawn in the midst of this power struggle, as the two doctors continue to spar and challenge one another, seeming increasingly to care more about scoring points against the other than about their patient. 

This is a heavy, intense play. It’s also loud at times, as the power struggles and interactions between doctors and patient often escalate to shouting and strong language. The issues here are timely and intriguing, from UK-specific issues like the structure of their health system to various areas of London, to more universal matters like the issues of race, racism, and privilege, as well as the monetization of health care and career ambitions potentially undermining patient care. It’s all framed with a very British eye, as well, and there don’t seem to have been a lot of productions of this show in the USA, or at least, I haven’t been able to find many in searching online. It’s very popular in the UK, though, which makes sense considering how UK and London-centric it is. This is why I question the decision for the actors to not use British accents in this production, although it may make the play easier to understand for American audiences, and consistency in British accents is often difficult for American actors. 

The accent issue, though, is the only real “negative” I can say about the staging of this production, as everything else is excellent, from Been’s minimal but effective set, to Gary F. Bell’s well-suited costumes, to Tyler Duenow’s dynamic lighting, to the profoundly excellent performances from all three cast members. The acting here is simply superb. All three actors are at their best–from Meyers’s initially well-meaning, somewhat awkward and insecure Bruce; to Ritchie’s haughty, controlling, ambitious academic Robert; to Humphrey’s unpredictable, energetic, alternately confrontational and withdrawn Christopher. All three work together especially well, with their interplay providing much of the dramatic tension of the play. A full range of emotion is on display here, with a dynamic, riveting result. 

There’s a lot to think about in Blue/Orange. This is definitely not a play you want to see for light entertainment. With its well-drawn characters and challenging subject matter, this is the kind of play that should have audience members thinking, and talking about afterwards. As a production, it’s an acting tour-de-force and a memorable theatrical experience from Stray Dog Theatre.

Jason Meyers, William Humphrey, Ben Ritchie
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Blue/Orange at Tower Grove Abbey until October 23, 2021

Read Full Post »

Princesses Tell Their Own Tales in Funny “Disenchanted” at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , on December 19, 2019| Leave a Comment »

Disenchanted!
Book, Music, and Lyrics by Dennis T. Giacino
Directed by Justin Been
Stray Dog Theatre
December 12, 2019

Sarah Gene Dowling, Kelly Slawson, Dawn Schmid
Photo by John Lamb
Stray Dog Theatre

Revisionist versions of fairy tales have been in vogue for a while, with films, stage shows, and TV featuring different takes on classic stories. The latest production from Stray Dog Theatre, the cabaret-style DIsenchanted! is composer/lyricist/book writer Dennis T. Giacino’s take on this popular idea. It turns out to be something of a mixed bag in terms of orginality, but it’s still a lot of fun and features some memorable performances from an enthusiastic cast.

Hosted by iconic princesses Snow White (Kelly Slawson), Cinderella (Sarah Gene Dowling), and Sleeping Beauty (Dawn Schmid), Disenchanted! is presented in a sort of cabaret/variety show format, in which various princesses offer their own takes on their portrayals in popular culture, and especially  in Disney films. They focus much on the messages that these films, and the whole “Princess Complex” has on society, and particularly the young girls who grow up watching the films and are presented with the Fairy Tale Princess ideal. Well, these princesses are here to tell us that there’s a lot more to their stories than that ideal. There is also a lot of meta-exploration of how the characters themselves are dealing with how they have been portrayed and received, and some reminders of the pre-Disney origins of their stories, both serious and humorous,. There is “Honestly” sung by Pocahontas (Gitana Mims) in the former category and, in the latter category along with a good dose of meta and digs at commercialism, “Not V’One Red Cent” sung with gusto by Rapunzel (Erika Cockerham). While some of the songs seem rather obvious and one-note, others are more inventive and memorable. Also, for the most part there isn’t much said here that hasn’t been said before by other works.  Still, it makes for an entertaining evening, especially in the second act as the sense of camaraderie and solidarity between the characters grows and becomes most credible.

What this show is, ultimately, is a showcase for its talented cast. Although there is some deliberately comically “bad” singing (and a notice about it in the program), there are also some powerful voices, and some excellent comic performances. The standouts for me include Schmid as a determined, quirky, and frequently nodding off Sleeping Beauty, who (eventually) gets one of the show’s best songs in “Perfect”. Slawson and Dowling are also memorable as fellow co-hosts, a somewhat imperious Snow White and more whimsical Cinderella. Cockerham, as a statuesque, big-voiced, Germanic Rapunzel who gets her moment in a hilarious Cabaret-styled number, is another standout, as are Selena Steed as the Princess Who Kissed the Frog who leads the rousing “Finally”, and Eleanor Humphrey as Princess Badroulbadour (from the original source for Aladdin), in excellent voice on “Secondary Princess”. It’s an energetic, cohesive ensemble overall, carrying the somewhat uneven material here with a lot of personality and enthusiasm.

The overall irreverent, whimsical tone of the show is carried over well into the production values, with a colorful unit set by Miles Bledsoe and memorable costumes by Eileen Engel. Lighting designer Tyler Duenow contributes to the bold, variety-show styled look of the show. There’s also some fun choreography by  Mike Hodges and an excellent small band led by music director Jennifer Buchheit, although the sound mix is uneven at times and it can be difficult to hear the words to some of the songs.

Overall, while Disenchanted! isn’t the most original of this “meta-fairy tale” sort of shows, it’s an entertaining and frequently hilarious production. I think this show may especially appeal to people who are well-versed in the Disney versions of these characters and don’t mind some sharp criticism of the works or the company. It has it’s moments, definitely, and it’s another fun staging from Stray Dog Theatre.

Cast of Disenchanted!
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Disenchanted! at Tower Grove Abbey until December 21, 2019

Read Full Post »

Stray Dog Theatre Revisits “Tommy” in a Well-Cast, Visually Stunning Production

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 17, 2019| Leave a Comment »

The Who’s Tommy
Music and Lyrics by Pete Townshend, Book by Pete Townshend and Des McAnuff
Additional Music and Lyrics by John Entwistle and Keith Moon
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
October 11, 2019

Cast of The Who’s Tommy
Photo by Dan Donovan
Stray Dog Theatre

For its latest production, Stray Dog Theatre is bringing back a show they first staged 8 years ago. Although I didn’t see that production, I’ve heard some glowing comments about it, so I’m not entirely surprised they would want to produce it again. Now, the company has restaged The Who’s Tommy with a new look and concept, and an excellent cast, particularly in terms of the three performers playing the title role at different ages.

Legendary British rock group The Who first produced their rock opera Tommy as a concept album in 1969. It has since been adapted into a trippy movie directed by Ken Russell in 1975, and later into a Tony-winning Broadway musical. Each version has been altered in various ways from the original album, and I hadn’t seen the stage show before this latest production from SDT, although I had seen the film roughly 30 years ago. What I remember most is the iconic rock score, featuring hits like “Pinball Wizard”, and much of that score is featured here. The story focuses on the life of Tommy Walker (played from young adulthood by Kevin Corpuz), who is born in England in the early years of World War II and suffers a traumatic incident involving his parents (Kelly Howe, Phil Leveling) and his mother’s lover (Jordan Wolk) when he is four years old (played by Alora Marguerite Walsby). As a result, Tommy loses the ability to see, speak, and hear, and grows up experiencing the world using his other senses and emotions. He’s further abused and bullied by other relatives, including his creepy, alcoholic Uncle Ernie (Cory Frank) and his opportunistic Cousin Kevin (Tristan Davis), and taken by his parents to various doctors and others offering “cures” for Tommy (played at age 10 by Leo Taghert). Eventually, Tommy is introduced to pinball by his cousin, and he displays a surprising and remarkable talent for the game, causing a sensation and attracting fans and followers. He then becomes something of a cult figure for a lot of his fans, and he has to figure out what to do about that and come to terms with his own past, present, and future.

The entire technical side of this production is stunning, especially in the visuals. This production is given a unique design that gives it more of a futuristic look rather than the 1940s–1960s time frame would suggest. This look goes especially well with the rock music score and overall mysterious tone of the piece. There’s a fluorescent neon look to Eileen Engel’s costumes that gives them a striking appearance and works well with Josh Smith’s concert-stage like multilevel set, Justin Been’s dazzling kaleidoscopic projections, and Tyler Duenow’s dynamic lighting. The driving score is played with style by the excellent band led by music director Jennifer Buchheit, with particular kudos going to guitar players Adam Rugo and John J. Reitano, who give the music much of its power. The only occasional drawback to the sheer volume of everything is that sometimes the words to the songs can be lost under the music, especially in the ensemble numbers, and with a show like this that is mostly sung-through with very little spoken dialogue, it’s especially essential to be able to hear the lyrics.

The casting is especially strong here, led by the three performers who play Tommy as he grows up. Corpuz, as the adult Tommy and “guiding voice” for his younger versions, gives a commanding performance, with strong stage presence and a powerful voice that fits the score well. The younger Tommys are just as good, too, from Walsby’s mostly silent performance and very credible reactions to Taghert’s journey as the youthful Tommy goes through a series of traumatic encounters and finally finds his talent. All three of these actors are the heart of this show, and much of the dramatic weight rests on them. There are also strong showings from Howe and Leveling as Tommy’s parents, Frank as the smarmy Uncle Ernie, Davis in a particularly well-sung turn as Cousin Kevin, Engel as a determined young fan of Tommy’s named Sally Simpson, and Jeffrey M. Wright in several roles. The ensemble is also strong all around, vocally and in demonstrating Mike Hodges’ energetic choreography.

The Who’s Tommy has something of a rock concert feel to it, as is fitting with the show’s origins. Still, there is a compelling story here, told by a bold, bright, futuristic-looking production led by a particularly strong trio of title performers. It’s another memorable musical from Stray Dog Theatre.

Cast of The Who’s Tommy
Photo by Dan Donovan
Stray Dog Theatre

Stray Dog Theatre is presenting The Who’s Tommy at Tower Grove Abbey until October 26, 2019

Read Full Post »

A Stylishly Staged “Dreamgirls” at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , , , on April 8, 2019| Leave a Comment »

Dreamgirls
Book and Lyrics by Tom Eyen, Music by Henry Krieger
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 4, 2019

Cast of Dreamgirls
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre has been producing more large-cast shows in their relatively small space at Tower Grove Abbey lately. Its current production, Dreamgirls, is the latest example. A well-known Broadway show that’s also been made into an acclaimed movie, this is a big, glitzy and glamorous musical that adapts very well to the smaller venue at SDT. Especially, it serves as a showcase for some standout performances and impressive production values.

The original Broadway Dreamgirls and the movie are well-known for their music and for the performances of two famous Jennifers–Holliday (on stage) and Hudson (on screen)–as central character Effie White, the original lead singer for a Supremes-like singing group. Here, Effie is played by the excellent Ebony Easter, as the show traces Effie’s and her group’s path from obscurity to stardom. The Dreamettes–who later become the Dreams–start out as a group of three friends entering a talent contest at New York’s Apollo Theatre. Effie, along with her friends Deena Jones (Eleanor Humphrey) and Lorrell Robinson (Tateonna Thompson) are young a naive at first, embarking on a tour supporting R&B star James “Thunder” Early (Omega Jones), but encouraged by Effie’s songwriter brother C.C. (Marshall Jennings) and their highly ambitious car-salesman-turned manager Curtis Taylor, Jr. (Abraham Shaw), they soon learn more about the reality of show business, with its joys, triumphs, disappointments, and heartbreak in their personal and performing lives, also dealing with inherent racism in the music industry as Early and the Dreams aim to cross over from R&B to pop. The show is a deliberate evocation of the Motown sound, being basically a fictionalized tale of the rise of Motown and the Supremes in particular, with a memorable score featuring many highlights, including the title song, “Steppin’ to the Bad Side”, “One Night Only” and  Effie’s show-stopping “(And I Am Telling You) I’m Not Going” and “I Am Changing”.

The staging at SDT is, for the most part, excellent, reflective the glitzy and occasionally glamorous world of show business in the 60s and 70s, but also showing the realities of life backstage and offstage. Josh Smith’s glittery, red-and-gold two-level set is striking, as are Julian King’s detailed era-specific costumes, reflecting the evolving styles of the eras in which the show takes place as well as the Dreams’ growth in maturity and sophistication. There’s also sparkling lighting by Tyler Duenow and energetic choreography by Mike Hodges, along with an excellent–if a little too small for the sound–band ably led by music director Jennifer Buchheit. The staging and pacing is good, for the most part, although there are occasionally some awkward scene transitions.

What especially stands out here is the excellent cast, and particularly the leading performances. Although the ensemble energy varies at times, there are some truly dynamic performances here, led by Easter who is in excellent voice as the determined Effie. Humphrey as rising-star Deena is also strong, and Thompson as Lorell is a particular standout. The always dynamic Jones puts in a dazzling performance as Early, as well.  Also notable are Jennings in a well-sung, highly likable performance as C.C. and Shaw in the difficult role as the highly ambitious but controlling and manipulative Curtis. The performance scenes especially are excellent, as an evocation of the 60s and 70s transitions between soul and R & B to pop, and eventually disco.

Dreamgirls is a fascinating show, with excellent songs and characters, and a real sense of history about it. At Stray Dog Theatre, this show is given a highly entertaining staging featuring some especially strong performances by an impressively talented cast. It’s a tuneful, poignant, and ultimately hopeful story. It’s another memorable musical from this theatre company.

Eleanor Humphrey, Marshall Jennings, Abraham Shaw, Tateonna Thompson, Omega Jones, Ebony Easter, Diamon Lester
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Dreamgirls at Tower Grove Abbey  until April 20, 2019

Read Full Post »

Older Posts »