Posts Tagged ‘neil simon’

NJT’s Poignant Semi-Reunion “Broadway Bound” Features Strong Cast

Posted in St Louis Theatre, tagged , , , , , on January 21, 2023| Leave a Comment »

Broadway Bound
by Neil Simon
Directed by Alan Knoll
New Jewish Theatre
January 19, 2023

Bob Harvey, Spencer Kruse, Jenni Ryan, Jacob Flekier
Photo by Jon Gitchoff
New Jewish Theatre

The latest production from the New Jewish Theatre is something of a family reunion. Broadway Bound is Neil’s Simon’s well-known conclusion to his acclaimed semi-autobiographical “Eugene Trilogy”. NJT produced the first of the series, Brighton Beach Memoirs, in 2019, and has brought back the director, Alan Knoll, three key cast members, and some of the design team for the continuation of the story of Simon’s fictional avatar, Eugene Jerome, and his family. As with the first production, this one showcases its impressive cast in a remarkable way as Simon’s memorable blend of humor and poignancy takes the stage.

Where Brighton Beach focused on Eugene as a young teenager and emerging writer, Broadway Bound features the character as a young adult trying to break into the new and exciting world of television comedy in the late 1940s. Jacob Flekier returns to the role as a likable narrator and focus character, as Eugene and his older brother Stanley (Spencer Kruse, also returning) strive to make their dreams come true as they work on sketches and try to get a job as writers at CBS, and Eugene is caught up in the excitement of a new relationship with a young woman he hopes to marry. The play also updates the story of Eugene’s parents, and especially his mother, Kate (Jenni Ryan), who finds herself in a difficult situation as her marriage to her husband Jack (Chuck Brinkley once again) appears to be in trouble, and her aging father, Ben (Bob Harvey) resists pleas from Kate and her now-wealthy sister Blanche (Christina Rios) to join their mother in moving to Florida for the sake of his health. The story deals with changing relationships, family expectations, hopes and dreams for the future, memories and regrets from the past, and more, with a tone that ranges from character-focused comedy to poignant drama. It’s a rich, fascinating portrayal of a family at a pivotal moment in their lives, and one of Simon’s more celebrated later works. 

This being a sequel, the production at NJT is especially effective if you saw the earlier production Brighton Beach Memoirs as well, since several elements of that production are revisited here, starting with an excellent re-creation of the meticulously realistic set by Margery and Peter Spack, which is identical to the earlier set, except for a few differences in decoration reflecting the 12-year time difference between the stories. Michele Friedman Siler also returns as costume designer, outfitting the characters in detailed, suitably evocative period attire. Lighting designer Kimberly Klearman Petersen has based the design for this production on that of previous designer Michael Sullivan, with credible atmospheric effect. There’s also impressive work from sound designer Kareem Deanes (new for this production) and choreographer Ellen Isom, adding to the mood of the show’s most memorable scene, which is also superbly acted by Ryan and Flekier. 

The casting is first-rate, from the returning players as well as the newcomers. Flekier, as before, makes an engaging, relatable Eugene, and his relationships with all of the other cast members are excellent and believable. Kruse is also strong as the ambitious, nervously energetic Stanley. There are also strong turns from Rios as the caring, well-off but insecure Blanche, Harvey as the crusty, politically-minded Ben, and Brinkley in a difficult role as the disillusioned, secretive Jack, whose scenes with Ryan’s Kate are an emotionally-charged highlight. As for Ryan, she’s giving perhaps the best performance I’ve seen from her as the conflicted, devoted Kate, whose scenes with Flekier’s Eugene are especially convincing and moving. 

Broadway Bound is a thoughtful, memorably staged production that revisits both characters and performers from the earlier production with a few new twists and additions. It’s a welcome reunion and revisitation, with an especially strong cast, and a technical production that’s both impressive and realistic. It’s one of Simon’s more “serious” stories, but with a good dose of humor and hope. Even if you didn’t catch Brighton Beach Memoirs, this is a show that’s well worth seeing. 

Jenni Ryan, Chuck Brinkley
Photo by Jon Gitchofff
New Jewish Theatre

The New Jewish Theatre is presenting Broadway Bound at the J’s Wool Studio Theatre until February 5, 2023

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Moonstone’s Energetic, Very 1960s “Barefoot in the Park” Features Strong Cast

Posted in St Louis Theatre, tagged , , , , , on October 29, 2022| Leave a Comment »

Barefoot in the Park
by Neil Simon
Directed by Sharon Hunter
Moonstone Theatre Company
October 27, 2022

Luis Aguilar, Rhiannon Creighton
Photo by Jon Gitchoff
Moonstone Theatre Company

Barefoot in the Park is one of celebrated playwright Neil Simon’s earlier works, first having been staged on Broadway in 1963, starring a young Robert Redford, who later starred in the 1967 film adaptation opposite Jane Fonda. Moonstone Theatre Company has chosen to set their season opening production in 1966, perhaps to take advantage of the late 1960s style trends, and this production certainly achieves an eye-catching aesthetic. It also features some winning performances and well-paced direction by Sharon Hunter, highlighting the more timeless elements of the play’s appeal, although the age of this script does show through in places.

This is one of those shows that, while contemporary in its time, only works as a period piece today. The 1960s setting is one of the highlights of this production, but it also highlights the changing times, including views of marriage, relationships, and perceptions of age and gender roles. The story focuses around young newlyweds Corie (Rhiannion Creighton) and Paul (Luis Aguilar), who have just come from their honeymoon to settle into a small, fifth-floor walkup apartment in New York City. Although they are still in the flush of “young love”, these two are very different in terms of personality. Corie is impulsive, vivacious, and upbeat, always looking for a new adventure in life. Young lawyer Paul, on the other hand, is more conventional, and wary of Corie’s more outgoing, quirky ways. Still, they’re obviously in love, and excited about beginning their life together, until a series of interactions calls both to question whether or not they should even be together. This is a Neil Simon comedy, so the complications tend toward the madcap rather than the introspective, and hilarious characters and situations are the focus. First, there’s Corie’s mother, Ethel (Jilane Klaus), who personality-wise seems to have more in common with her new son-in-law than her daughter. Ethel, who voices her support for the new couple, is also obviously concerned and has the tendency to want to meddle. She’s also lonely, set in her ways, and (*gasp*) 50(!), so Corie is determined to inject some excitement into her mother’s life by introducing her to their worldly, eccentric upstairs neighbor, Victor Velasco (TJ Lancaster), who proves to be charming and affably wacky. Naturally, hijinks ensue, leading to the young couple’s questioning their own relationship and their attitudes toward one another and life in general. 

The show is certainly funny, and the characters and situations are never dull, especially with the excellent performances and brisk staging. Still, there are some creaky elements to the script that make it obvious how much society has changed in the past six decades. First, although both Corie and Paul learn about compromise in relationships, the major “weight” of the self-reflection is given to Corie, with elements of the old “change to keep your man” theme. Also, the attitudes toward aging, and  how people age 50+ (especially women) are perceived and expected to behave, is especially jarring. Still, there is a lot to like here, as well, and a lot of the themes are still as relatable today as they were 60 years ago.

For this production, the vibrancy comes from the excellent, very period-focused atmosphere as well as the wonderful cast. Dunsi Dai’s colorful, detailed set is a mid-century marvel, as are Michele Siler’s character-appropriate costumes, Michael Sullivan’s atmospheric lighting and Amanda Werre’s excellent sound design. The period-specific music played before the show and during the two intermissions also highlights the 1960s mood. 

As for that wonderful cast, everyone is strong, with a cohesive ensemble chemistry and excellent comic timing. Creighton as the energetic Corie and Aguilar as the more reserved Paul make a memorable pair, making the somewhat rocky arc of their relationship believable. Klaus is also strong as Ethel, who undergoes a believable transformation of sorts aided by the hilarious Lancaster, who gives a charming, scene-stealing performance as Victor. There are also excellent featured performances from Chuck Brinkley as a telephone repairman and Bob Harvey as a delivery guy. 

Overall, Moonstone’s Barefoot in the Park is a brightly atmospheric trip into the 1960s, and a fun look at how contrasting personalities and outlooks on life can influence relationships. It does have its share of dated elements, but this production, featuring its great cast and memorable aesthetic, is ultimately fun, funny, and heartwarming. It’s an entertaining opening for Moonstone’s new season.  

TJ Lancaster, Jilanne Klaus, Luis Aguilar, Rhiannon Creighton
Photo by Jon Gitchoff
Moonstone Theatre Company

Moonstone Theatre Company is presenting Barefoot in the Park at the Kirkwood Performing Arts Center until November 13, 2022

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NJT Returns with Funny, Fast-Paced “Laughter”

Posted in St Louis Theatre, tagged , , , , , on March 31, 2022| Leave a Comment »

Laughter on the 23rd Floor
by Neil Simon
Directed by Edward Coffield
 New Jewish Theatre
March 24, 2022

Jacob Flekier, John Wolbers, Joel Moses
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is back to live performances with a lively new production of a well-paced, semi-autobiographical comedy by celebrated playwright Neil Simon. Laughter on the 23rd Floor is the playwrights look back at his early years as a television writer, but for NJT it’s a promising look ahead at a new season that’s finally able to get underway. It’s a welcome return for this company, and the strong cast makes the most of Simon’s vivid, personal look at an important era in his own life, as well as the entertainment industry’s–and the country’s–history. 

The “Golden Age of Television” may be a distant but living memory for some, or the subject of stories, rumors, and reruns for others. For Neil Simon, it was a formative era of his career as a comedy writer. This play is based on Simon’s early years as a writer for legendary television comic Sid Caesar, sharing a writers’ room with other up and coming writers including Mel Brooks and Larry Gelbart. Here, Simon has fictionalized the story somewhat, but the influence of his own personal life in the depiction of the early, formative years of television comedy is clear. Simon’s alter-ego in this play is Lucas Brickman (Jacob Flekier), an eager young writer who is excited to be working with a team he considers the best in the business, working on the staff for Sid Caesar-like TV star Max Prince (Ben Ritchie). Set entirely in the show’s writers’ room, it’s a story populated with larger-than-life characters, from the talented and caring but frequently insecure Max, to a collection of writers whose talents are obvious, but whose personalities constantly clash, including the theatrical Milt Fields (Joel Moses), world-weary Russian immigrant Val Skolsky (Aaron Mermelstein), ambitious Kenny Franks (Michael Pierce), attention-seeking, health-anxious Ira Stone (Dave Cooperstein), along with Irish-American Brian Doyle (John Wolbers), who aspires to write for the movies, and Carol Wyman (Kirsten De Broux), the only woman on the writing staff and, along with ditzy secretary Helen (Annie Zigman), one of only two women in the play, as a reflection of the times. Also in reflection of the times, we get to see not only the process of writing a hit comedy show in the early 1950s–we also get to see how the characters, and the show, are affected by world events, and especially the rise of McCarthyism and the haunting specter of the blacklist, as well as corporate influence on the arts, changing public tastes, and more. It’s a vivid look at a specific era in history, lent extra credibility by the fact that it’s informed by the playwright’s personal experiences.

The characters are sharply defined but, for the most part, manage to avoid stereotypes, and the actors here portray them with as much depth as can be imagined. Flekier makes for a likable, relatable focus character, narrating the proceedings and being an effective “tour guide” to this world and these characters. Ritchie conveys Max’s caring leadership especially well, even though not always as “big” a personality as he could be. The big personalities are definitely here, though, portrayed with excellent timing by Moses, Mermelstein, Pierce, and Cooperstein, who bring a strong sense of ensemble chemistry as their characters work, laugh, and bicker together at different times. De Broux is also strong in the somewhat underwritten role of Carol, and Zigman brings comic energy to her role as well, despite Helen’s being the closest thing to a real stereotype in the play. In an important way, the way this show plays out, the characters are the story, and this cast brings enthusiasm, strong timing, and lots of energy to the proceedings.

Technically, the show is something of a time machine, in that it effectively channels a bygone era in a way that’s immediate and relatable. From Rob Lippert’s detailed set, to Michele Friedman Siler’s period and character-specific costumes, the show brings 1953 to life with vivid style. There’s also excellent work from lighting designer Michael Sullivan, and sound and projection designer Ellie Schwetye, adding to the mood and atmosphere of the production.

I’m glad that NJT is finally back staging plays again, and Laughter on the 23rd Floor is an excellent choice to start the new season. It’s focus is on a much-written and talked about time in history that many today haven’t experienced first-hand, and this production manages to bring that world to life with an excellent cast and production values. It’s a light comedy much of the time, but with important moments of resonance, both as a look at history and a somewhat surprising reflection of today as well. It’s a memorable return to the stage for this excellent theatre company.

Michael Pierce, Ben Ritchie
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting Laughter on the 23rd Floor at the J’s Wool Studio Theatre until April 10, 2022

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Well-Cast “Jake’s Women” is an Impressive Debut for Moonstone Theatre Company

Posted in St Louis Theatre, tagged , , , , , on November 10, 2021| Leave a Comment »

Jake’s Women
by Neil Simon
Directed by Edward M. Coffield
Moonstone Theatre Company
November 4, 2021

Jennifer Theby-Quinn, Jeff Cummings
Photo by Phillip Hamer
Moonstone Theatre Company

Moonstone Theatre company is currently staging their first production in the studio theatre space at the new Kirkwood Performing Arts Center. Moonstone is a new theatre company, although it seems like they have been around for a while, considering artistic director-producer Sharon Hunter and company have managed to maintain a visible online presence (via Facebook, their website, and a podcast) over the past two years while waiting for the chance to finally stage a live production. Well, that production is here now, and it’s excellent. Neil Simon’s Jake’s Women features a first-rate cast and strong production values, making a strong impression on the St. Louis theatre scene.

Jake’s Women is one of celebrated playwright Simon’s later plays, having been originally staged in 1992, and like most of his works, it’s a comedy, although there are elements of drama as are characteristic of many of Simon’s later works. It’s early 90s origin is apparent in some of the jokes that don’t quite seem to “land” as well as they would have almost 30 years ago, but otherwise, it holds up well, speaking to universal issues of relationships, mental health, and the challenges of being a writer. Jake (Jeff Cummings) is a celebrated novelist currently dealing with writer’s block, as well as a variety of issues in his relationships with various women in his life, who appear mostly in Jake’s mind. These women include his current wife Maggie (Jennifer Theby-Quinn), his sister Karen (Hunter), his psychoanalyst Edith (Jennie Brick), his daughter Molly at age 12 (Amelie Lock) and at 21 (Carly Uding), and his late, beloved first wife Julie (Marisa Puller). All of these characters except Maggie only appear as Jake’s imagined/remembered versions who appear at first only as Jake “summons” them, although later they begin showing up on their own. Maggie, who is dealing with a strained marriage to Jake, appears both in Jake’s mind-visions and in “real life”, showing the contrast between how she really is and how Jake can imagine her. There’s also another character, Sheila (Mindy Shaw), who mostly appears in “real life”, as a new woman in Jake’s life who isn’t so sure what to think of him. As Jake debates, argues, and discusses with these figures in his life (in the real and imaginary versions), he seeks to work out his own struggles with fear of intimacy, grief over his loss of his first wife, his dependence on women, his fear of losing touch with reality, and more. It’s a fascinating, fast-paced picture of a complex character and a struggling marriage, as the relationship between Jake and Maggie is at the center.

As a Neil Simon play, this show is full of fast-paced, quick witted and self-deprecating humor, as well as memorable characters. In this production, all the characters are cast with impeccable precision. As Jake, Cummings is full of angsty energy, managing to be both obtuse and vulnerable at the same time, maintaining sympathy even when he can be stubbornly difficult. Theby-Quinn is an excellent match for Cummings as the conflicted Maggie, managing to convey a genuine love for Jake as well as exasperation with him, and a desire to discover more about herself. These two work especially well together, forming the emotional heart of this production. There are also strong performances from the rest of the cast, with Hunter as the ever-helpful but increasingly frustrated Karen, Brick as the acerbic Edith, Puller as the idealized but determined Julie, and Lock and Uding as two different versions of Molly all providing excellent support. Shaw, as Sheila, makes a strong impression in a small-ish role, as well, mostly reacting to Jake’s increasingly unusual behavior as he deals with the apparitions that she is unable to see. It’s a cohesive ensemble, bringing Simon’s quickly paced, talky script to life with emotion and verve.

The space at the Kirkwood Performing Arts center is ideal for this production, emphasizing the intimacy of the setting and working well with the style and theme of the play. Dunsi Dai’s relatively minimal set is also ideal, with both realistic and more abstract elements blending together with Michael Sullivan’s evocative lighting to highlight the more imaginative aspects of the play, as well as its very real humor and emotion. The costumes by Michele Siler and sound by Amanda Werre also contribute well to the overall tone and theme of the production, and director Edward M. Coffield’s staging is dynamic and energetically paced.

Overall, this is an impressive debut for a promising new theatre company. Jake’s Women provides a strong cast an excellent opportunity to bring this thoughtful, witty play to life. Moonstone Theatre Company is a welcome addition to the St. Louis theatre scene, and I’m looking forward to seeing more productions from them in the future. 

Cast of Jake’s Women
Photo by Phillip Hamer
Moonstone Theatre company

Moonstone Theatre Company is presenting Jake’s Women at the Kirkwood Performing Arts Center until November 21, 2021

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New Jewish Theatre Highlights Believable Relationships, Strong Acting in “Brighton Beach Memoirs”

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

Brighton Beach Memoirs
by Neil Simon
Directed by Alan Knoll
New Jewish Theatre
October 10, 2019

Jane Paradise, Jacob Flekier, Laurie McConnell
Photo by Greg Lazerwitz
New Jewish Theatre

New Jewish Theatre is starting a new season with a celebrated work by one of America’s most prolific playwrights, Neil Simon. The first in Simon’s “Eugene Trilogy”, Brighton Beach Memoirs is a semi-autobiographical tale that veers swiftly between comedy and drama at times, but ultimately it’s a poignant and nostalgic coming-of-age story, even if it is dated in places. Especially, this production features a strong cast that makes the most of the comedic and dramatic elements of the story.

The story is set in 1937 in the Brighton Beach area of Brooklyn, New York, and narrated by Simon’s teenage avatar Eugene Morris Jerome (Jacob Flekier). Eugene is an aspiring writer, and this story is part of his “secret” memoir. In addition to his writing ambitions, Eugene is also interested in baseball (particularly the New York Yankees), looks up to his older brother Stanley (Spencer Kruse), and harbors an increasingly intense crush on his older cousin Nora (Summer Baer), who along with her younger sister Laurie (Lydia Mae Foss) and their widowed mother, Blanche (Laurie McConnell) has been living with Eugene’s family. Eugene’s mother Kate (Jane Paradise) is concerned about the well–being of all of her family, including hardworking husband Jack (Chuck Brinkley), her sons, and her younger sister Blanche and her daughters. It’s the Great Depression in America, and the threat of war is looming in Europe, and the family members have their own hopes, goals, and fears, as Eugene deals with puberty and his future goals, Stanley deals with a moral dilemma at his job, Jack deals with financial struggles and the concerns of taking care of a family, as does Kate. There are family conflicts between the lonely Blanche and her aspiring dancer daughter, Nora; between Kate and Blanche who have old issues to settle; between Stanley and his parents, and the expectations set on him by his family; and more. Eugene is the central figure and the narrator, but the primary conflicts are mostly within the rest of the family, as the hardships of the world and expectations and conventions of society are reflected in the conflicts and hardships of the family. It’s an insightful, witty script for the most part, with some fairly intense drama that is built up well, but there are some moments that can come across as jarring for a 2019 audience, especially in the expressed attitudes of Stanley and Eugene toward girls and, particularly, Nora. Still, for the most part this is a poignant and thoughtful comedy/drama, with a hopeful bent toward the end even despite the continuing tensions in the wider world. It’s been described by Simon (as noted in the director’s message in the program) as somewhat of an idealization of his childhood and his family, but nonetheless these characters seem believably real, especially as portrayed by the excellent cast in this production.

As for that cast, each cast member seems especially well-chosen for this production. As Eugene, Flekier is full of energy and enthusiasm, portraying the teenager’s adolescent angst and occasional cluelessness with admirable clarity. There are also fine performances from Kruse as the conflicted Stanley, Baer as the determined Nora, and Foss as the occasionally snarky young Laurie. The adult characters are especially well-played here, as well, with truly remarkable performances from Paradise and McConnell as the contrasting sisters Kate and Blanche, with McConnell especially bringing out a lot of the heartwrenching poignancy of her story. These two are especially believable as siblings, and their scenes together are a highlight of the production. Paradise also has credible chemistry with the also excellent Brinkley as the world-weary, well-meaning Jack. Brinkley’s presence as the strong-but-fair father figure is readily apparent in all his interactions here, especially with his sons. It’s a strong ensemble, representing a believably imperfect but generally loving family unit, reacting to each other and to their times in sometimes humorous, occasionally heartrending ways.

As is usual for NJT, the physical production is top-notch, with a terrific, painstakingly detailed two-level set by Margery and Peter Spack that evokes the era ideally. Michele Friedman Siler’s costumes also fit the period and characters well. There’s also excellent atmospheric lighting by Michael Sullivan, and impressive sound design by Zoe Sullivan, effectively bringing the audience along for the story and into 1930s Brooklyn.

Brighton Beach Memoirs is a well-known show that I hadn’t managed to see before this production, and I’m glad that New Jewish Theatre has given me my “introduction” to this piece on stage. It’s an impressively cast, well-realized production that reflects Simon’s witty and occasionally intense script especially well. I’m finding myself hoping NJT will stage the other two plays in the “Eugene Trilogy” in future seasons, with as much of the same cast as they are able to retain. This is a strong start to a new season for New Jewish Theatre.

Jacob Flekier
Photo by Greg Lazerwitz
New Jewish Theatre

New Jewish Theatre is presenting Brighton Beach Memoirs at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until October 27, 2019

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NJT’s “Sunshine Boys” Bicker and Bring the Laughs

Posted in St Louis Theatre, tagged , , , , , on October 22, 2015| Leave a Comment »

The Sunshine Boys
by Neil Simon
Directed by Doug Finlayson
New Jewish Theatre
October 15, 2015

Peter Mayer, John Contini Photo by Eric Woolsey New Jewish Theatre

Peter Mayer, John Contini
Photo by Eric Woolsey
New Jewish Theatre

Vaudeville is a matter of history for most people nowadays, remembered mostly for its influence on the development of entertainment and comedy performance. Once upon a time, though, Vaudeville was at the heart of the entertainment industry, and its performers were well-known stars, many of whom later found success in movies and television. But as big as it was in its heyday, Vaudeville’s popularity eventually died out, its performers grew older, and audiences’ memories faded. For the two aging vaudevillians at the center of Neil Simon’s The Sunshine Boys, the memories of their more successful days are bittersweet. Now being presented in a well-cast production at New Jewish Theatre, The Sunshine Boys is a sometimes overly long, but still insightful look at the life of two performers who may not like each other very much, but with whom, for better or for worse, they will always be associated.

That “for better or worse” phrasing calls to mind a marriage, and in a way former stage partners Willie Clark (John Contini) and Al Lewis (Peter Mayer) act like an acrimonious divorced couple. They are linked by a shared past and common public association, but they also harbor years of bitter resentment. It’s a wonder that these two actually managed to work together for over 40 years. The story centers mostly on Willie, who lives in a shabby old hotel room (reduced from what once was a suite), and spends his days watching TV, complaining about various issues to the management, reading Variety and hoping to get jobs acting in commercials. When his longsuffering nephew, Ben (Jared Sanz-Agero), who is also Willie’s agent, brings a network TV job to Willie’s attention, that’s when the volatile action really begins. The job requires a reunion with Al, whom Willie hasn’t seen in years, and a revival of one of their best known acts, a sketch about a a doctor. A somewhat disastrous rehearsal in Willie’s apartment doesn’t bode well for this collaboration, but the TV appearance continues as planned until an unexpected crisis disrupts Willie’s life even further.

The play is surprisingly slow-moving for a Neil Simon comedy, and it takes a while for the story to really start moving. The first act is mostly Willie complaining to Ben about his life, and after Al shows up, it’s almost nonstop bickering. There are some great comic moments, and a good look at a largely forgotten area of the showbiz world, but it’s a little difficult to sympathize considering Willie is just so insufferable for much of the play. Veteran actor Contini, who took over this role on very short notice, does an admirable job of bringing out a degree of charm in the cantankerous old comedian, which is a feat considering the script makes him so difficult to like. The show’s best moments are when Contini is sharing the stage with Sanz-Agero, who is an effective “every man” figure as Ben, and with Mayer as the curmudgeonly but less caustic Al, who serves as a good foil for the more combative Willie. The recreation of the comic sketch is funny, as well, and there’s great support from the ensemble including Leo B Ramsey as a TV production assistant, Bob Harvey as a patient and Julie Crump as a patient and nurse in the doctor sketch, and Fannie Belle-Lebby as a real home health nurse who appears late in the play.

Technically, the show lives up to New Jewish Theatre’s already excellent reputation. Margery and Peter Spack’s incredibly detailed set appropriately suggests the rundown, cluttered hotel room where Willie spends his life. There’s also a good recreation of an early 1970’s TV set, with excellent lighting by Michael Sullivan and sound by Robin Weatherall. The costumes by Michele Friedman Siler and props by Margery Spack help to vividly illustrate this world of an aging vaudevillian, with Willie’s old costume trunk as a key element in the story.

Overall, while the script does drag in places and takes a while to get going, The Sunshine Boys is a funny and occasionally poignant portrayal of aging comedians struggling to restore a relationship that they’re not sure they want to restore. The importance of family and friendship ties is also emphasized in this classic comedy by one of America’s best-known playwrights. As staged at NJT with its excellent production values and strong cast, The Sunshine Boys is well worth seeing.

John Contini, Jared Sanz-Agero Photo by Eric Woolsey New Jewis Theatre

John Contini, Jared Sanz-Agero
Photo by Eric Woolsey
New Jewis Theatre

New Jewish Theatre is presenting The Sunshine Boys at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until November 1, 2015.

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Dramatic License’s “Odd Couple” is a Winning Combination

Posted in St Louis Theatre, tagged , , , , , , on May 3, 2015| Leave a Comment »

The Odd Couple (Female Version)
by Neil Simon
Directed by Alan Knoll
Dramatic License Productions
April 25, 2015

The Cast of The Odd Couple (Female Version) Photo by John Lamb Dramatic License Productions

The Cast of The Odd Couple (Female Version)
Photo by John Lamb
Dramatic License Productions

Neil Simon’s The Odd Couple has had many incarnations over the years. It’s been a play that’s seen several revisions and revivals, as well as a film and a popular TV show, along with several attempts at remaking the TV show. The latest production at Dramatic License, of Simon’s 1986 female version of the play–reflects the company’s new focus on women.  An ingenious and entertaining re-invention of the play, this version is a fitting first venture on the company’s new track.

This isn’t just the male Odd Couple with women subbing for the men. Having never seen this version before, I’m impressed with how well Simon has translated the material, especially since the dynamics of female friendships are often very different than those of male friendships. The basic situation is similar, but the overall effect is quite different. The play tells the story of laid-back, somewhat slovenly Olive Madison (Kim Furlow), who lives alone but hosts a regular evening playing Trivial Pursuit with her group of friends, including Sylvie (Kirsten Wylder), police officer Mickey (Carmen Larimore Russell), Renee (Christine Alsop), and Vera (Mara Bollini). Soon into the evening, the friends are informed that their fastidious friend, Florence Unger (Colleen Backer) has gone missing after splitting with her husband. Eventually, Florence turns up at Olive’s place, and Olive offers to let Florence move in.  This sets off the inevitable conflict, as their personalities couldn’t be more different, and Florence is dealing with her own issues of insecurity over her failed relationship. The usual comedy ensues, including a situation involving a pair of romantically inclined Spanish brothers (Paul James as Manolo, Phil Leveling as Jesus) who live in their building and who Olive invites over for dinner.

This story plays out both similarly and differently than its male-centered counterpart. The situation is similar, as are some of the conflicts, but the personalities come across much differently in this version. For instance, I always found the Felix character in the male version to be somewhat unbearable, but in Florence, the neurotic neat-freak characteristics appear much more sympathetic, especially here, as played by the excellent Backer.  She lends an endearing quality to the character that isn’t quite as apparent in the male version, and her interactions with Furlow’s Olive are still combative, but there’s an underlying affection there that’s easier to see in this version. Furlow gives an equally strong performance as Olive, who portrays an effective air of vulnerability in the midst of her character’s outward bravado. The two leads are what really make the show here, although they get some good support from the rest of the cast as well, especially Bollini as the somewhat naive Vera, Wylder as the sarcastic Sylvie, and Leveling and James as the charmingly goofy Costazuela brothers.  There’s a strong sense of energy throughout the ensemble, as well as some good moments of physical comedy.

The production maintains the 1986 setting of this version’s first staging, and that atmosphere is maintained well through the use of 1980’s music played between scenes, as well as Lisa Hazelhorst’s costumes. The set, designed by Kyra Bishop, is sufficiently detailed and also appropriately rearranged between scenes to reflect Florence’s influence after she moves in.

This is a very funny show, reflecting the importance of friendships among women, as well as the need for individual independence. I find the characters of Florence and Olive easier to relate to than their male counterparts, and even though the male version of this show is more famous, I think I actually prefer this version.  It’s been given a lively and hilarious production at Dramatic License Productions that’s well worth seeing.

Kim Furlow, Colleen Backer, Carmen Larimore Russell, Kirsten Wylder Photo by John Lamb Dramatic License Productions

Kim Furlow, Colleen Backer, Carmen Larimore Russell, Kirsten Wylder
Photo by John Lamb
Dramatic License Productions

The Odd Couple (Female Version) is on stage at Dramatic License Productions, in Chesterfield Mall, until May 10th, 2015.

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STAGES Sings a Sweet (and Slightly Silly) 70’s “Song”

Posted in St Louis Theatre, tagged , , , , , , on June 6, 2014| Leave a Comment »

They’re Playing Our Song
Music by Marvin Harmlisch, Lyrics by Carole Bayer Sager
Book by Neil Simon
Directed and Choreographed by Stephen Bourneuf
STAGES St. Louis
June 4, 2014

Maria Couch, Seth Rettberg Photo by Peter Wochniak STAGES St. Louis

Maria Couch, Seth Rettberg
Photo by Peter Wochniak
STAGES St. Louis

My earliest memories of They’re Playing Our Song involve the ubiquitous television commercials for the national tour in the early 1980’s. First produced on Broadway in 1979, this show was a very popular and much-hyped touring staple. Nowadays, although the show has been revived a few times, it is very much tied to its time. In its music, situations and sensibilities, it’s a 1970’s show through and through. STAGES St. Louis, in the first main stage production of their 2014 season, has wisely chosen not to try updating the show’s setting, presenting what is, for the most part,  a sweet and very period-specific romantic comedy with an appealing cast and a clear sense of time and place.

Inspired by the real-life romantic and professional relationship of composer Marvin Hamlisch and lyricist Carole Bayer Sager, They’re Playing Our Song presents a series of  significant moments in the lives of an Oscar-winning composer, the professionally competent but romantically unlucky Vernon Gersch (Seth Rettberg) and his new lyricist Sonia Walsk (Maria Couch), an offbeat and chronically late free spirit who likes to wear recycled theatrical costumes and has a somewhat unhealthy attachment to her unseen but much talked about slacker ex-boyfriend Leon. The more conventional Vernon and the unpredictable Sonia soon forge an uneasy bond, learning to work together and trying to manage a burgeoning romantic connection in the midst of various personality conflicts and situational difficulties.  There are a lot of jokes about analysts, New York life, show business, sex and the male vs. female expectations in relationships as the two navigate their on-again, off-again relationship.

If this sounds like a Neil Simon plot, that’s because it is.  Simon wrote the script, and it plays out like a fairly typical offbeat 197o’s romantic comedy.  The characters are neurotic and quirky, and the  jokes are witty and fast-moving, although some of them don’t land quite as well as they probably did once upon a time.    Although the show involves the  interesting conceit of employing a sort “Greek Chorus” of alter egos for Sonia (Brittany Rose Hammond, Sarah Rolleston, Bronwyn Taboton) and Vernon (Craig Blake, Nic Thompson, Aaron Umsted), the real weight of this production rests on the shoulders of its two leads.  Rettberg and Couch bring a lot of enthusiasm to the stage, and Rettberg especially is able to infuse the somewhat stuffy Vernon with a lot of deadpan wit and goofy charm.  His voice is strong, especially on “Fallin'” at the beginning of the show, and “Fill In the Words” at the end.  Couch does a fine job as Sonia as well, especially in opening scene where all her eccentricities are made known, and in the later scenes where she starts to show some substance behind all the over-the-top quirkiness.  Her best musical moments are the plaintive “Just For Tonight” and her duets with Vernon, such as the upbeat disco-driven “Working It Out” and “They’re Playing Our Song”. Both performers excel in the delightfully cheesy dancing scenes, as well, and their chemistry is good if not exactly electric.  There’s some great support from the alter-egos, as well, and their entrances from basically everywhere (from inside wardrobe, behind curtains,from behind walls, etc.) are hilarious,  even though their role often comes across as more of a running gag than as a truly relevant plot device.

The 70’s atmosphere of this production is very well realized, even if sometimes I wish they had hammed it up even more. Director/Choreographer Stephen Bourneuf’s fun, disco-influenced dance numbers are a real highlight.  The set, by James Wolk, is colorful and clever, with a stage surrounded by a giant piano keyboard and individual sets (especially Sonia’s rummage-sale special of an apartment) that add to the whimsical nature of the show, and Matthew McCarthy’s lighting design adds to the mood as well with some great effects, especially in illuminating the giant piano keys and in the disco-style lighting of the night club scene.  Lou Bird’s costumes are another real strength of this production, particularly in Sonia’s outfits that range from thrift-store chic to “best of the 7o’s” fashion (a striped wrap-around top, an orange turtleneck, a shimmery red disco dress).  Vernon’s well-coordinated suits accurately reflect his character, as well. This was a very colorful period in American fashion and culture, and that is reflected very well in the overall look and feel of this production.

They’re Playing Our Song is musical that definitely shows its age, although there is much to like in STAGES’ production.  Ultimately, I would say that this is a production that majors on charm and energy, with a sweetly cheesy 70s vibe. Although I do wonder how it will be received by audience members who don’t remember this time period, for the most part I think it’s a time trip worth taking.

Cast of They're Playing Our Song Photo by Peter Wochniak STAGES St. Louis

Cast of They’re Playing Our Song
Photo by Peter Wochniak
STAGES St. Louis

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