Posts Tagged ‘ken ludwig’

The Rep’s Riveting “Express” is a Visually Dazzling, Well-Acted Must-See

Posted in St Louis Theatre, tagged , , , , , , , on March 25, 2023| Leave a Comment »

Agatha Christie’s Murder on the Orient Express
by Agatha Christie
Adapted by Ken Ludwig
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
March 24, 2023

Armando Durán
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Rep’s shows have long been known to have high production values, but with their latest show, I think they’ve outdone themselves. In this production of Agatha Christie’s Murder on the Orient Express, the technical  aspects are so impressive, they threaten to upstage the also superb cast. It’s a vibrant, thrilling, dramatic, and often humorous staging where every note rings true, and the technical aspects lend a cinematic flair that makes this show a true must-see.

Murder on the Orient Express is one of Christie’s better-known stories, and it’s been filmed several times over the years for the big and small screens. Here, as adapted by Ken Ludwig, the cast has been pared down a little and the story streamlined slightly, but the tone is classic Christie, and Hana Sharif’s brisk direction keeps the story moving along in a well-timed, almost filmlike way, as the legendary Christie detective Hercule Poirot (Armando Durán) tells the story after a brief filmed introduction that has the feel of classic Hollywood cinema. The action begins in a hotel, as Poirot prepares to embark on the storied Orient Express train. He fortuitously runs into his old friend Monsieur Bouc (Jamil A. C. Mangan), who runs the train line and helps Poirot secure a ticket for what he hopes will be a relaxing journey. Soon, however, the detective finds himself surrounded by intrigue, as a collection of disparate characters converge on the train, and of course, there’s a murder. Of course, Poirot has to solve the case, but it’s not easy when everyone around him seems to be hiding something, and the train itself becomes caught in a snowstorm. I won’t give away the conclusion, but it’s one of Christie’s more inventive ones, and it’s made especially believable here by means of staging and the excellent cast.

The memorable characters are cast especially well, with Durán leading the way as the determined, clever Poirot. Mangan, as Bouc, is also strong, showing a lot of charm and energy as he assists Poirot and tries to maintain order on the train. Standouts also include the marvelous Ellen Harvey as the strong-willed, much-married American Helen Hubbard; Gayton Scott as exiled Russian Princess Dragomiroff; Fatima Wardak as the devout, nervous missionary Greta Ohlsson; and Christopher Hickey and Aria Maholchic (the understudy, filling in for principal Margaret Ivy) as the secretive lovers Colonel Arbuthnot and Mary Debenham. Cameron Jamarr Davis is also memorable as Hector MacQueen, private secretary to Joel Moses’s shady, boorish Samuel Ratchet; and Michael Thanh Tran lends strong support as dutiful train conductor Michel. This cast is supported by a small ensemble of Webster University students (Luka Cruz, Kyleigh Grimsbo, Colby Willis, and usually Maholchic), lending to the overall filled-out, movie-like feel of the production. 

Also contributing to that cinematic flair is the truly spectacular set by Tim Mackabee, which meticulously recreates a series of locales, including several train cars, and utilizes the stage’s turntable to magnificent effect, with scene changes meticulously timed to go along with the richly produced, filmlike score by composers and sound designers Charles Coes and Nathan A. Roberts. There are also dazzling projections by Michael Salvatore Commendatore and marvelous lighting by Jason Lynch, contributing to the overall 1930s atmosphere and thrilling tone of the story. There are also excellent period costumes by Fabio Toblini that contribute to the overall atmosphere of the show.

Agatha Christie’s Murder on the Orient Express is a riveting, thrilling, cinematic marvel that captures the essence of classic Christie tales while also maintaining an “Old Hollywood” sense of glamor and style. It’s an expertly choreographed, technically dazzling show that holds the audience’s attention from the very first moment. The cast is excellent, but the set is so spectacular that the train itself becomes a character in the show as well. It’s a wonderful old-fashioned whodunit with style, energy, moments of well-timed humor and credible drama. It’s a remarkable feat for the Rep.

Cast of Agatha Christie’s Murder on the Orient Express
Photo by Phillip Hamer
Repertory Theatre of St Louis

The Repertory Theatre of St. Louis is presenting Agatha Christie’s Murder on the Orient Express until April 9, 2023

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NJT Brings Letters to Life with Stunningly Atmospheric “Dear Jack, Dear Louise”

Posted in St Louis Theatre, tagged , , , , , , on June 13, 2022| Leave a Comment »

Dear Jack, Dear Louise
by Ken Ludwig
Directed by Sharon Hunter
New Jewish Theatre
June 9, 2022

Molly Burris, Ryan Lawson-Maeske
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is currently serving as a time machine, or the closest we can probably get outside of science fiction. Its staging of Ken Ludwig’s love letter to his parents, Dear Jack, Dear Louise, portrays its time period and setting in a way that makes everything seem so astonishingly immediate. It’s billed as a “romantic comedy”, but there’s a lot more to it than that, and in the hands of the two wonderful leading performers, this is a tale that takes the audiences on a convincing emotional journey.

As made clear in the play’s promotional materials, and via pictures displayed in the lobby, this show is about two real people, playwright Ken Ludwig’s parents Jacob “Jack” Ludwig (Ryan Lawson-Maeske) and Louise Rabiner (Molly Burris), who “meet” via letters after being “set-up” by their parents in the early 1940s. I would say this is a two character play, but as staged here, there are basically four characters–Jack, Louise, the 1940s, and World War II. After an initially halting and brief first letter, their relationship grows and these two get to know each other more closely, even though they don’t actually meet in person for most of the play, despite several frustrated attempts, as the war (for Jack) and Louise’s burgeoning career as an actress and dancer intervene. Of course, because of the poster in the lobby and the promotions for the play, we know these two will eventually meet and marry, but Ludwig’s construction of the play, along with the performances and Sharon Hunter’s well-pitched direction make this a thoroughly engaging and even suspenseful story, as we the audience get to know these characters as they grow closer to one another through their letters, developing a friendship that leads to romantic feelings and expectations. The presentation is dynamic–rather than simply having the characters read the letters, they are structured more like dialogue, as the characters respond to one another more conversationally as the story develops. The growth of the relationship, along with various challenges–from personal issues and jealousy to the growing and increasingly threatening presence of the war–is portrayed in a fully credible and compelling way, as these well-drawn characters form a believable personal connection, engaging the audience in their hopes, dreams, and struggles.

Everything is developed in such a vivid way, with Dunsi Dai’s impressively detailed set and contributions by scenic artist Cameron Tesson and costume designer Michele Friedman Siler bring these characters and their world to life in a stunningly effective way. The 1940s vibe is enhanced by the pictures and posters that decorate the stage, featuring celebrities, plays, and movies from the era that are mentioned in the letters. There’s also an atmospheric soundtrack of 1940s pop hits to further set the mood, and excellent work from sound designer Amanda Werre, lighting designer David LaRose, and props supervisor Katie Orr in bringing this world to vivid, dramatic life. 

As well developed as Jack and Louise’s world is here, the characters themselves are also ideally portrayed in the stunningly well-matched performances of Burris as the outgoing Louise and Lawson-Maeske as the more reserved but compassionate Jack. Both are intensely likable, portraying a range of emotions as the tone shifts between light romantic comedy and more intense drama.  Their chemistry is fully believable, as well. They’re a vibrant, complex and thoroughly winning combination, making this play all the more involving as these two embody their characters so completely and credibly. 

This show is excellent in portraying a world history event (the Second World War) in a relatably human way, as well as serving as the playwright’s tribute to his own parents, on whose early relationship this show is based. Dear Jack, Dear Louise at NJT is an effective time trip as well as a riveting romantic story. It’s another excellent theatrical experience from this celebrated theatre company.

Ryan Lawson-Maeske, Molly Burris
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Dear Jack, Dear Louise at the J’s Wool Studio Theatre until June 26th, 2022

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Energetic “Baskerville” at Insight is Clever, Funny

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

Baskerville: A Sherlock Holmes Mystery
by Ken Ludwig
Directed by Maggie Ryan
October 14, 2017

John O’Hagan, Gwen Wotawa, Elliot Auch, Kent Coffel
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is closing out their latest season with a comic mystery that’s familiar in more ways than one.  Baskerville: A Sherlock Holmes Mystery is another telling of a well-known story about a well-known literary detective, but its style is also somewhat familiar, calling to mind another popular theatrical comedy thriller. At Insight, this story benefits from an impressive cast and some clever staging.

The first thing that came to my mind when reading about the structure of this show wasn’t Sherlock Holmes but another popular mystery story that’s been given the comic theatrical treatment, The 39 Steps. Like that popular and often-staged play, Baskerville is staged with a small cast, and with some of the cast members playing a wide variety of characters. It also has some similar staging conventions and pacing. Still, it stands well on its own without appearing merely derivative. The story is based on one of Arthur Conan Doyle’s more well known Holmes tales, The Hound of the Baskervilles. The characters of Holmes (John O’Hagan) and Dr. Watson (Kent Coffel) are central, especially Watson in this staging. All the other characters are played by three performers, billed as Actor 1 (Elliot Auch), Actor 2 (Ed Reggi), and Actress 1 (Gwen Wotawa). The story follows Holmes and Watson as they investigate a strange case involving a murder on a moor bordering a country estate and an old family legend of a gigantic killer hound. The estate’s heir is transplanted Texan Sir Henry Baskerville (Reggi), who gets a note warning him to stay away from the moor. Watson then goes with him to his newly inherited estate to try to figure out what’s going on. Much intrigue, scheming, and hilarity follows, as the various characters and would-be suspects are introduced, and as the plot is further complicated by an unexpected romantic entanglement.

Although this is billed as a Sherlock Holmes story, it’s actually Watson who seems to get the most stage time, and Coffel plays his role with charm and energy. O’Hagan is also excellent as the brilliant but evasive Holmes. The other three players, each playing a number of roles, are excellent as well, with Auch displaying a variety of accents in various roles ranging from Baskerville neighbor Dr. Mortimer, to mysterious and butterfly-obsessed Jack Stapleton to a young informant helping Holmes. Reggi plays the friendly but bewildered Baskerville and a number of other roles, including the gruff Inspector Lestrade, among others. There’s some particularly clever staging involving an extremely quick character change by Reggi that provokes a big laugh from the audience. Wotawa rounds out the cast in a variety of roles ranging from various women involved in the case–particularly Beryl, who becomes involved with Sir Henry–as well as a young boy who helps Holmes gather information in London. The staging involves a lot of quick costume changes, as well as some self-referential humor, and it’s all performed with a lot of enthusiasm by this energetic ensemble.

The set, designed by Matt Stuckel, is versatile and works well for the quickly moving nature of this play. With movable set pieces and a prominent video screen, the locations can be set easily and moved around with speed. There’s also excellent atmospheric lighting by Connor Meers and strong sound design by Robin Weatherall, providing the various affects needed for the situations, from comic to spooky. All the technical elements work together well to help tell this story and facilitate the high-energy, always moving style of the show, as well as the traditional “Sherlock Holmes” look.

Baskerville is a lot of fun.  It’s a well-timed and cleverly staged production that provides a lot of opportunities for versatility among the cast members. It’s Sherlock Holmes, but not like you may expect. It’s a memorable way for Insight to close a successful season.

Ed Reggi, Kent Coffel, Elliot Auch
Photo by John Lamb
Insight Theatre Company

Insight Theatre Company is presenting Baskerville: A Sherlock Holmes Mystery at the .Zack Theatre until October 29, 2017

 

 

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Insight Brings the Laughs in “Moon Over Buffalo”

Posted in St Louis Theatre, tagged , , , , , on July 30, 2015| Leave a Comment »

Moon Over Buffalo
by Ken Ludwig
Directed by Edward Coffield
Insight Theatre Company
July 25, 2015

Will Bonfiglio, Alan Knoll, Jenni Ryan Photo by John Lamb Insight Theatre Company

Will Bonfiglio, Alan Knoll, Jenni Ryan
Photo by John Lamb
Insight Theatre Company

“All the world’s a stage”, Shakespeare wrote, but for some people, the stage is their world. Insight Theatre’s latest production, Ken Ludwig’s outrageous backstage farce Moon Over Buffalo, depicts a couple of past-their-prime stage stars for whom show business is their life, although family conflicts and the lure of Hollywood complicate that life. Insight has brought this play to life in a fast-paced, laugh-a-minute production that calls to mind the theatre world of yesteryear while managing to emphasize some timeless themes as well.

Backstage at the Erlanger Theatre in Buffalo New York, celebrated stage performers George (Alan Knoll) and Charlotte Hay (Jenni Ryan) are leading a company of actors on the latest stop of a tour. They’re performing two plays in repertory–Edmond Rostand’s Cyrano de Bergerac and Noel Coward’s Private Lives. Their daughter, Rosalind (Sam Auch) used to perform with the troupe but has left showbiz for the “real world”, and returns to visit so she can introduce her parents to her new fiance, star-struck TV weatherman Howard (Will Bonfiglio). That’s only the start of the story. The rest is a comedy of many surprises, involving Rosalind’s ex-boyfriend Paul (Pete Winfrey), who still loves Rosalind; her feisty grandmother Ethel (Tommy Nolan), who rarely remembers her hearing aid; company member Eileen (Kara Overlein), who may or may not be having a fling with George; and Richard (Eric Dean White), the Hays’ lawyer, who is harboring a not-so-secret romantic interest in Charlotte.  What follows is a hilarious, slapstick farce involving love triangles, mistaken identity, mixed up performances and costumes, and in a vein similar to another famous backstage comedy,  Noises Off, lots of running in and out of doors.  It’s a story that doesn’t make a lot of sense if you take it seriously, but fortunately “serious” is about the last word you can use to describe this play–unless of course you mean “seriously funny”, because Moon Over Buffalo certainly is that.

The delightful cast has no weak links, and is led by Knoll in a memorable performance as the bombastic, vain George. He’s got the timing down to a science, especially excelling in his drunk scenes. Ryan matches him as the somewhat jaded Charlotte, who seems to be a little more grounded than her husband. Auch is fine as Rosalind, as well, especially pairing well with Winfrey as the still lovestruck Paul. Winfrey has a goofy, energetic charm about him and plays the physical comedy well. There are also strong performances from Nolan as the confrontational Ethel, White as the more subdued Richard, Overlein as the emotional Eileen, and Bonfiglio in a scene-stealing performance as the delightfully goofy Howard. This play depends a great deal on comedic timing, and these players execute that well. There’s a particularly side-splitting section in Act 2 involving a mixed-up stage performance that highlights most of the performers comic abilities and keeps the audience laughing out loud.

The scene has been set ideally by means of Peter and Margery Spack’s remarkably detailed set. The backstage of a 1950’s theatre has been meticulously recreated and decorated with all sorts of theatrical paraphernalia and Margery Spack’s excellent period-specific props.  The costumes, designed by Erin Reed, are colorful and well-suited, as well, from the 1950s clothes to the theatrical costumes for Cyrano and Private Lives. It’s a very strong technical production, providing the appropriate whimsical atmosphere for the chaotic goings-on of the show.

Laughter is the number one goal of a show like this, and Insight’s production achieves that goal with zeal and gusto.  It also provides a little window into the world of theatre in the middle of the 20th century, when television was starting to emerge as an important force in entertainment, and films had already become predominant. The main reason for a show like Moon Over Buffalo, though, is to make its audience laugh, and it does that well. It’s a zany, charming farce that holds the audience’s attention from the beginning and holds it until the end.

 Insight Theatre Company’s Moon Over Buffalo runs at the Heagney Theatre at Nerinx Hall, Webster Groves, until August 9th, 2015.

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