Posts Tagged ‘laurence o’keefe’

Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Directed by Maggie Burrows
Choreographed by William Carlos Angulo
The Muny
July 28, 2022

Kyla Stone (Center) and Cast of Legally Blonde
Photo by Phillip Hamer
The Muny

Legally Blonde is at the Muny, but not without some troubles due to the weather. Still, despite one rescheduled performance as a result of flooding and a bit of a delay before the Thursday night performance due to technical checks following more rain, the show went on. And it was worth the wait, because this show is full of energy, and is a whole lot of fun. 

The story, based on the novel by Amanda Brown and the 2001 MGM movie, centers around Elle Woods (Kyla Stone), a UCLA fashion student who follows her college boyfriend Warner (Dan Tracy) to Harvard Law School after he dumps her just before graduation because the perky, pink-clad, Malibu-raised Elle doesn’t fit his “serious” ideal. Elle, with support from her peppy Delta Nu sorority sisters, is determined to prove Warner wrong and win him back. So she applies to Harvard and is accepted, making the journey East to Boston and, for Elle, to a whole new world that isn’t entirely ready for her. Here, she makes some new friends, like her law school mentor Emmett (Fergie L. Phillippe) and hairdresser Paulette (Patti Murin), as well as some rivals, like Warner’s “serious” new girlfriend Vivienne (Olivia Kaufmann), while struggling at first to adjust to the Harvard atmosphere and earn a prestigious internship from cutthroat Professor Callahan (Sean Allan Krill). After a few trials (pun intended) and tribulations, Elle gradually learns more about herself and her own intelligence and inner strength, all the while finding out who her real friends are and how to navigate the law school world as her unique “legally blonde” self. 

This production is, simply put, a whole lot of fun. With a great cast led by the energetic, vocally strong Stone as Elle, the story never has a dull moment. Stone is clearly enjoying herself as Elle, and her chemistry with the also great Phillipe as Emmett is palpable, and their scenes are a highlight of this production. Also strong is Murin as the kind but self-doubting Paulette, showing off great stage presence and vocals on her showcase “Ireland” number. There’s also excellent support from Kelsey Anne Brown, Gabi Campo, and Khailah Johnson as Elle’s “Greek Chorus” of sorority sisters Margot, Serena, and Pilar. Krill makes an ideal villain as the self-serving, creepy Callahan, and there’s a fun turn from Hayley Podschun as fitness guru and murder trial defendant Brooke Wyndham. There’s strong work all around, from the leads to the energetic ensemble, and even including two adorable dogs–Ricky as Elle’s dog Bruiser, who has some scene-stealing moments; and Myrtle as Paulette’s dog Rufus. There’s vibrant choreography by William Carlos Angulo, and the staging is brisk and lively. 

What’s also lively and impressive is Tim Mackabee’s set, which features some surprising elements like an actual pool onstage in the opening scene, and several versatile set pieces. There’s also eye-catching video design by Kylee Lorra, and excellent atmospheric lighting by Rob Denton. Leon Dobkowski’s costumes also impress, suiting the characters well, and managing to help tell Elle’s story as she navigates her law school career. The Muny Orchestra, led by music director Lon Hoyt, sounds great, as well.

Legally Blonde is a fun show, especially when the cast is as enthusiastic as this one. While it’s not the strongest score and book I’ve seen, it’s certainly a crowd-pleaser, and this production finds a lot of emotion and heart. It’s another entertaining success in the 2022 Muny season. 

Fergie L. Phillipe, Kyla Stone
Photo by Phillip Hamer
The Muny

The Muny is presenting Legally Blonde in Forest Park until August 1, 2022

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Bat Boy: The Musical
Story and Book by Keythe Farley and Brian Flemming
Music and Lyrics by Laurence O’Keefe
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
August 5, 2016

Corey Fraine, Angela Bubash, Dawn Schmid, Patrick Kelly Photo by John Lamb Stray Dog Theatre

Corey Fraine, Angela Bubash, Dawn Schmid, Patrick Kelly
Photo by John Lamb

Stray Dog Theatre

Based on a story from an infamous tabloid, Bat Boy: The Musical is the darkly comic tale of a misfit child hidden away in a cave, and what happens when he’s discovered by the world around him. It’s a musical that started out off-Broadway and has become a modern cult classic, and it’s now on stage at Stray Dog Theatre. It’s the final show in STD’s current season, and it’s a well-cast, impressively staged production.

Stylistically, the show has essentially a sensationalist air, in the spirit of an over-the-top tabloid story like the one on which this is based. The influence of old-style “B” sci-fi movies is also apparent. Except for the main leads, most of the cast members play multiple roles of various ages and genders as needed. The title character (Corey Fraine) is originally found in a cave as two brothers and a sister (Michael A. Wells, Sara Rae Womack, and Lindsey Jones) are exploring. The initially wild “Bat Boy” quickly bites the sister, scaring the three siblings and sending their town into a panic of suspicion. The Sheriff (Josh Douglas) decides to take Bat Boy to the local veterinarian, Dr. Thomas Parker (Patrick Kelly), so the doctor can decide what to do, although he’s not home and his wife Meredith (Dawn Schmid) and daughter Shelley (Angela Bubash) meet Bat Boy first, and Meredith insists on taking the boy in and giving him a loving home, eventually persuading her reluctant husband to go along with her plan. Bat Boy is soon re-christened “Edgar” and, under the instruction of Meredith, Shelley, and Thomas, quickly reveals his intelligent and sensitive nature, although the townspeople still believe him to be a monster. Then there’s the matter of Thomas, who grows jealous of his wife’s attentions toward Edgar. As the townspeople gear up for a big tent revival meeting held by a visiting superstar evangelist (also Wells), Edgar and the various Parkers have dreams, concerns, and dilemmas to deal with.

The show has the exaggerated tone of tabloid television, with lots of comedy although there is also a tendency toward melodrama. The plot gets more and more sensationalized as it goes on, with elements of horror, forbidden love, “mad scientists”, religious themes involving conservative Christianity as well as ancient Greek mythology, and more thrown in for good measure. The “message” starts out being one of the need for acceptance and understanding of differences, but the themes get a little confused as the sci-fi horror elements are further developed. The music is a mixture of modern styles, with some memorable production numbers and ballads. The slightly over-exaggerated tone of most of the production is also portrayed well by means of Mike Hodges’s stylized choreography and Cara Hoppes McCulley’s colorful costumes, all staged on Robert J. Lippert’s detailed, evocative set.

The cast here is well-chosen and full of energy. Fraine as Edgar the Bat Boy gives a strong, sympathetic performance, with a strong voice and dynamic physicality. He’s well-matched by Bubash’s feisty Shelley and Schmid’s determined, slightly mysterious Meredith. Kelly is also excellent as the increasingly conflicted Thomas, and all four leads are in excellent voice. The rest of the ensemble, all playing multiple roles, is excellent as well, helping to maintain the comically melodramatic tone of the show.

Bat Boy’s  story may be on the ridiculous side, but it’s the kind of show that revels in its ridiculousness. With memorable characters, humor, and memorable music, it’s an entertaining and crowd-pleasing tale, very well told by this excellent cast and technical crew. It’s another memorable musical production from Stray Dog Theatre.

Cast of Bat Boy: The Musical Photo by John Lamb Stray Dog Theatre

Cast of Bat Boy: The Musical
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Bat Boy: The Musical at Tower Grove Abbey until August 20, 2016.

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Book, Music, and Lyrics by Laurence O’Keefe and Kevin Murphy
Based on the Film by Daniel Waters
Directed by Scott Miller and Mike Dowdy
New Line Theatre
October 2, 2015

Grace Seidel, Evan Forachon, Anna Skidis Photo by Jill Ritter Lindberg New Line Theatre

Grace Seidel, Evan Fornachon, Anna Skidis
Photo by Jill Ritter Lindberg
New Line Theatre

I have a confession to make. I went to high school in the 1980’s and I’ve never seen the movie Heathers in its entirety. There’s no particular reason for this omission in my cinematic track record. I just never got around to seeing it beyond about 20 minutes of it on TV sometime in the 1990’s, even though it was always on my list of “movies I have to watch someday”. Still, even though I still haven’t seen most of it, the movie’s influence has not been lost to me, having heard it quoted and referenced in various places over the past two and a half decades. Still, as New Line Theatre’s excellent new production proves, one doesn’t have to have seen the movie to enjoy the musical adaptation, which has been brought to tuneful, colorful life by New Line’s top-notch cast and crew at the company’s shiny new venue, The Marcelle Theatre.

Essentially a dark, satirical look at “high school” films of the 80s, Heathers the musical definitely shows off the darker side of teenage life, although there is a glimmer of hope as well. It starts out, with the song “Beautiful”, setting the stage at Westerberg High School and introducing most of the main characters and cliques. We’re introduced to protagonist Veronica Sawyer (Anna Skidis), an amiable, ambitious high schooler who is relatively low on the social pecking order until she manages to get into the good graces of the school’s ruling set–three uber-popular girls of varying degrees of bitchiness who all happen to be named Heather. There’s group leader Heather Chandler (Sicily Mathenia) and her devoted cronies Heather Duke (Cameisha Cotton) and Heather McNamara (Larissa White). The Heathers and their football player pals Ram Sweeney (Omega Jones) and Kurt Kelly (Clayton Humburg) rule the school and basically dictate the social order. One problem for Veronica is that her newfound popularity has put her at odds with her longtime best friend, the sweet, nerdy and constantly bullied Martha Dunnstock (Grace Seidel). There’s also outsider and loner J.D. (Evan Fornachon), who appears on the scene to shake up the status quo and challenge Veronica to decide where her true loyalties lie. Unfortunately, J.D.’s methods are problematic to say the least. It’s basically a battle for Veronica’s soul, and J.D.’s as well, to a degree, as well as a challenge to the idea of high school cliques and labels, and what those say about a person’s true identity and potential.

The tone of the play starts out somewhat upbeat but gets darker as the plot moves forward, and especially in the second act.  There’s a lot of raunchy and somewhat twisted humor, as well, fitting the darkly ironic tone of most of the story.  But there are some poignant moments amid the comedy, as well, again especially in the second act, with Veronica’s challenge to J.D. in “Seventeen”, Heather McNamara’s revelatory “Lifeboat”, and especially Martha’s heart-wrenching solo “Kindergarten Boyfriend”. In fact, the tone shifts early in the second act to get more and more ominous, as Veronica is confronted even more with J.D.’s dark ideas and nature, as well as the idea that people do not have to be forever bound by the labels they’re forced into by high school culture.

The cast here is first-rate, including a few New Line veterans like the terrific Skidis as Veronica and Fornachon as the charming but dangerous J.D. These two display a fiery, intense chemistry, excellent stage presence and great voices. There’s also the impressive White in a vulnerable performance as the least bitchy Heather, McNamara. Many of the other performers are New Line newcomers, including Mathenia and Cotton who give virtuoso “mean girl” performances as Heathers Chandler and Duke; and Jones and Humburg, who are ideally cast as the superficial, sex-crazed jocks Ram and Kurt.  The most obvious “find” of this production, though, is Seidel, who gives a wonderfully nuanced, sensitive performance as the beleaguered Martha. There’s also excellent support from the rest of the cast, mostly made up of actors who are making their New Line debuts. The top-notch singing that I’ve come to expect in every New Line show is on full display here as well, as well as strong choreography by Robin Michelle Berger.

Technically, this production makes the most of New Line’s new black box theatre, the Marcelle. The space is smaller than New Line’s last space, but it seems incredibly versatile, and it will be interesting to see how it’s used in future productions. Here, Rob Lippert’s set is sufficiently colorful with its bright color scheme and versatile modular design, and Kenneth Zinkl’s lighting is appropriately atmospheric. The costumes, designed by Sarah Porter, are just right for the characters and the overall late 1980’s theme of the show.

Heathers is a memorable show, with a message that seems to be about how high school is not the end, and how people aren’t free to decide someone else’s future and what they will become. High school roles are often superficial and not set in stone. The song “Seventeen” is a reminder that while the teenage years don’t last forever, they can be enjoyed and savored in the little moments of life. It’s a dark, sometimes brutal show, but with a surprisingly hopeful ending, and it takes the “high school movie” genre and examines it in intriguing ways.  It’s a spectacular production, highlighting the always excellent singing that New Line is known for, as well as some strong characterization and a great use of New Line’s new theatre space. Heathers the musical is a hit whether you’ve seen the movie or not. Now, however, I think I’ll make a point of seeing the film.

Cameisha Cotton, Sicily Methenia, Larissa White Photo by Jill Ritter Lindberg New Line Theatre

Cameisha Cotton, Sicily Methenia, Larissa White
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s production of Heathers is running at the Marcelle Theatre in Midtown until October 24th, 2015.

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