Posts Tagged ‘reggie d. white’

The Rep’s Stunning “Twisted Melodies” Features Outstanding Performance, Production Values

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

Twisted Melodies
Created and Performed by Kelvin Roston, Jr.
Directed by Reggie D. White
Repertory Theatre of St. Louis
October 6, 2023

Kelvin Roston, Jr.
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The latest production from the Repertory Theatre of St. Louis is one St. Louis audiences may have seen before, but not in the same way. Kelvin Roston, Jr.’s Twisted Melodies–a one-man show about famed singer and musician Donny Hathaway–played at the Black Rep in 2016, and Roston has appeared in multiple productions of the show in various places since then. Now, at the Rep under the direction of Reggie D. White, the show gets a new look with some truly astounding production values, and still serving as an ideal showcase for the supremely talented Roston in the lead. 

It seems like Roston could not have chosen a better subject for his one-man show, as Roston’s musical talents and acting prowess shine in their portrayal of the legendary but troubled Hathaway. The construction of the show itself also provides a unique look into the life, music, and mind of Hathaway, who was a celebrated performer and artist, but who also struggled with paranoid schizophrenia. The story allows the audience into Hathaway’s creative mind as he works on a new project from his hotel room in New York in 1979. The audience is treated by Hathaway as apparently another hallucination, but a good one–supportive, instead of the menacing visual and auditory ones he experiences throughout the show, represented through the truly astounding technical effects of lighting designer Xavier Pierce, sound designer G Clausen, and projections designer Mike Tutaj. The richly appointed set by Tim Mackabee is transformed from a neutral space to a hostile one with chilling immediacy, as Hathaway tells his personal story and struggles to finish his latest composition. There’s also excellent work from costume designer Dede Ayite, outfitting Roston in a stylish, period-appropriate outfit that aids in his portrayal.

As for Roston himself, his performance is a tour-de-force, as I was expecting since I’d seen it before, and it has all the power and sheer vocal prowess I had remembered, along with excellent musical ability on the keyboard. He does a great job of sounding like Hathaway, telling the story through music and song as well as through his vivid acting. His vocal range is impressive, and his portrayal is one of astonishing depth and veracity. 

Even if you saw it before, Twisted Melodies from the Rep is a show that needs to be seen. Whether you are familiar with the music of Donny Hathaway or not, this is an essential performance to witness, with technical effects that are simply stunning. It’s an education for those who may be unfamiliar with Hathaway and his place in the history of American popular music, as well as vivid look at the devastating effects of mental illness. Most of all, though, it’s a profoundly excellent showcase for a superb performer and performance. 

Kelvin Roston, Jr. and Set
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Twisted Melodies at COCA’s Catherine B. Berges Theatre until October 22

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The Rep’s “Side by Side” Is a Hit-or-Miss Tribute to a Musical Theatre Legend

Posted in St Louis Theatre, tagged , , , , , , , on February 7, 2023| Leave a Comment »

Side by Side by Sondheim
Directed by Reggie D. White
Choreographed by Heather Beal
Repertory Theatre of St. Louis
February 3, 2023

Phoenix Best, Paul HeeSang Miller, Saidu Singlah, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

Since Stephen Sondheim died in 2021, many performers and theatre companies have offered their various tributes, in the form of special performances, concerts, and productions of his shows. Now, the Rep is taking the opportunity to salute this legend of musical theatre with a somewhat understated production of the revue Side by Side by Sondheim, focusing mostly on his works up until the mid-1970s. Although this production has its moments, the performances are hit-or-miss, and it could use more energy and presence.

As narrator Alan Knoll points out early in the production, there isn’t much here in terms of a plot. Instead, the show is presented as an overview of Sondheim’s work up until about 1976, when this revue first debuted in London’s West End. in fact somewhat amusing to hear Knoll refer to 1976’s Pacific Overtures as one of Sondheim’s “later works”. Still, even with the somewhat dated elements and obvious exclusion of Sondheim’s work from the late 1970s and forward, the show as written is intriguing, and I imagine it could be a great success with more consistent performances. The cast includes late-addition Knoll, as well as performers Phoenix Best, Paul HeeSang Miller, Saidu Sinlah, and Amy Spanger, accompanied by Kris Pineda and Stephen A. Eros on Piano. 

The show covers Sondheim’s earlier works as a lyricist working with other composers on shows such as West Side Story and Gypsy, as well as his work as both composer and lyricist on shows like A Funny Thing Happened on the Way to the Forum, Company, and Follies. Also featured are some more obscure songs from lesser-known works, as well as television and film. 

The staging can be inventive on occasion, featuring Heather Beal’s energetic choreography, Tre’Von Griffith’s  music direction, and a simple set featuring a screen and eye-catching projections by Camilla Tassi, and flanked by the two pianists seated at grand pianos on either side. Xavier Pierce’s atmospheric lighting also adds flair to the staging, and Sharath Patel’s sound design is proficient, although there are occasional issues with the singers’ volume. 

As for those performers,  the biggest standouts are Knoll, in a personable and occasionally hilarious turn as the Narrator, and the appropriately named Best, who delivers several memorable solos on songs such as “I’m Still Here”, “I Never Do Anything Twice”, and “Send in the Clowns”. Miller also has his moments and a strong tenor voice, but Sinlah and especially Spanger struggle to maintain energy and consistency. After a somewhat lackluster opening, there are a few memorable group numbers, including a unique staging of “You Gotta Get a Gimmick” from Gypsy and an entertaining closing medley. It’s a fairly low-key production, and could use a little more energy in places.

Side by Side by Sondheim isn’t the spectacular tribute it could be, and I also think modern audiences might notice the lack of material from the composer’s more well-known later works like Sweeney Todd, Sunday in the Park with George, and Into the Woods. Still, even though it focuses on his earlier works, this could be a much more vibrant show than the Rep has managed to produce. It’s not entirely a miss–there are certainly some memorable moments, especially from Best and Knoll, and there are some interesting bits of trivia to learn about the legendary composer and lyricist. Anyone who is a particular fan of Sondheim’s, though, might still be frustrated with the lack of energy and true sparkle.

Paul HeeSang Miller, Saidu Singlah, Phoenix Best, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Side by Side by Sondheim at COCA’s Catherine B. Berges Theatre until February 19, 2023

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